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fiistrionic mottlreal 

Jtnnals of the Montreal Stage 

with biographical and Critical 
Notices of the Slags and Stagers of a Century. 


"—/or the which supply, 
Admit me Chorus to this history. 79 

Hekry V. Prologue. 

! Lovell, look that U be done! " 

Richard III. Act 3., Sc. IV. 


-r ^-r^ MONTREAL : 



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Origin and Progress of Dramatic Art 

It does not take a great stretch of imagination to conceive 
the idea of the origin of the drama — a step from the drama of 
nature to the drama of humanity — a stride from the natural 
to the imitative — and so with the existence of primitive man, 
when first surrounded with scenes and objects, we have the 
origin of the drama. As the centuries continued to roll back 
upon the past, and as the dawn of civilization receded, man 
advanced. Not satisfied with merely imitating his own acts, 
he soon acquired the art of reproducing the acts of his fel- 
lows, and by the time we arrive to Greece and Rome we find 
man an intellectual being, and the drama fully developed- 
From this it is easily traced from the written records. From 
the ancient it is plain reading to the mediaeval age ; from the 
mediaeval to the Elizabethan ; and from the Elizabethan tp 
the Victorian. Not until Cosmos decays, or when it changes 
its features wherein man must disappear before the formation 
of a new genesis, then, and then only, will the drama cease 
to be. 

" Thespis, inventor of the dramatic art, 
Conveyed his vagrant actors in a cart ; 
y? High o'er the crowd the mimic tribe appeared, 

, And played and sung, with lees of wine besmeared." 

"^ Taking Herodotus as our authority, we find that the origin 
l v? of the drama was during the reign of Pissistratus, and the first 
^i representation of Iampic dialogue in the sacrifice to Dionysius 
in the year B.C. 535. Thespis was the founder and first en- 
actor of plays, and "Aloestus" the name of the first tragedy 
performed, during the festival of Bacchus. 

The records of the Olympian games indicate many winners 
of the tragic prize, foremost of whom are Thespis, Choerilus, 
B.C. 523 ; Phrynichus, B.C. 511 ; iEschylus, BC. 499; So- 
phocles, Euripides and Aristophanes. 


Next in line came the Romans with Quintius Rosciu-i and 
Clodius JEsopus as the foremost representatives of comedy 
and tragedy respectively. 

The dramatists were Terence, Livros, Caecilius, Andronicus 
and Ennius. 

" When Roscius was an actor in Rome* 9 


can be said to have virtually had its incipiency with the estab- 
lishment of the Comedie Francaise. Its origin dates back to 
thfe reign of Henri Quatre, when some comedians came and 
established themselves near the Hotel St. Paul Paris, and 
founded the Theatre du Marais. A few years later other 
comedians built a new theatre, which Corneille and Rotrou 
soon rendered illustrious ; this was the Theatre of the Hotel 
de Bourgogne. Next we find the theatres of the Petit Bour- 
bon and the Palais Royal, where Moliere's pieces were first 
played, and Racine's maiden piece, " La Thebaide." In 1673 
Moliere died and his company divided. 

In 1680 there were three theatres in Paris — the Theatre du 
Marais, the Company of the Hotel de Bourgogne and that 
of the Theatre Guenegaud. The two latter were united in 
August of that year, a grand performance of " Tartuffe " be- 
ing given to celebrate their union. " It is the intention of 
His Majesty," says the register, "that there shall be hence- 
forth no company but this, and it shall be called the Comedie 

Performances were held at the Hoiel Guenegaud, and 
eighty-one new pieces were produced in the first ten years, 
the authors most in fashion being La Fontaine, Danccurt and 
Boursault. Under Louis XV. the subvention granted to the 
house was doubled, and until 1770 the theatre was perman- 
ently established in the Rue des Fcsses. During these ninety 
years all that was illustrious in French literature was contri- 
buted to its glories. 

It remained here until 1760, when new quarters were found 
in the Palace of the Tuileries. Twelve years were spent 
there, and then a new theatre adjoining the Luxembourg was 

The Comedie Francaise was still here when the Revolution 
came, and in the bitter feeling of the time a feud arose be- 
tween Ta'ma and his Republican followers and the aristo- 

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eratic dement of the company. It was then that Talma 
and his party went to the Varietes Amusants. There they 
were later joined by their former companions, and there has 
been the home of the Comedie Francaise ever since. It faces 
the Place du Theatre Francais at the foot of the Avenue de 
l'Opera, and at the corner of the Rue St. Honore and the Rue 
de Richelieu, immediately adjacent to the Palais Royal. 

In 1812 Napoleon drew up the celebrated Moscow decree 
by which its organization has since been regulated. Scribe 
was first played there in 1822 ; Alexander Dumas, the elder, 
in 1829 ; Victor Hugo in 1830. Eight years later Rachel 
made her debut as CamUle in " Les Horaces." 

It was a heavy financial loss at this period, and it was net 
until M. Emile Perrin replaced as manager M. Edouard 
Thierry in 1871 that the tide began to turn in its favor. 
Since then it had more than regained its old place. Edmon i 
Got, the most thoroughly humourous actor in France, had 
long been its main support. Coquelin, the elder, whose 
brilliancy was in it, as Sarcey said, " Un je ne sais quoi 
(Tcpiquc" was incomparable as a comedian. Delaunav, 
aged as he was, still played the sighing lover with the fervour 
of youth. Mounet-Sully in tragedy, Shiron in comedy, Feb- 
ore in domestic drama, were each unrivalled in their respec- 
tive walks , while Mme. Arnould-Plessy, grandest of Grandes 
Coquettes ; Mile. Favart, most intense of Fortes Premieres ; 
and Sophie Croizette, memorable in the " Sphinx " and " Le 
Demi Monde," led a company of actresses whom all the other 
theatres combined could not hope to rival. 

The Theatre Francais was gutted by fire 8th March, 
1900. Inseparably associated with its history are the names 
of Racine, Corneille, Moliere, Talma, Duchesnois, Rachel, 
Bernhardt, Got, Mounet-Sully, Mars, Coquelin, and, rich with 
the spoils of time, it contained a priceless treasure in its col- 
lection of sculpture, paintings and precious relics. 

Of the galaxy of the Francaise's immortals, Montreal has 
seen, Bernhardt, Coquelin, accompanied by his brother, 
Jean, — Duquesne and Madame Barety, at the Academy of 
Music in March, 1889, and again week of 14th May, 1894. 
During this tour Coquelin was seen with his brother and 
Jane Hading. Jean Mounet-Sully also appeared at the Aca- 
demy, supported by Mmes. Hading and Segond-Weber, week 
14th May, 1894. 

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The earliest authentic account we have of theatrical per- 
formances in England is in the year 1119, when the mkacle 
play of "St. Katherine" was performed at Dunstable. It 
was written and produced by on*e Geoffrey. On the night of 
its production, by a strange coincidence, his house was totally 
destroyed by fire, and, thinking it to be a judgment from 
heaven, the playwright assumed the Itabitum rcligionis, and 
subsequently became the Abbott of St. Albans, dying in tho 
year 1146. 

In Fitzstephens' "Life of Thomas k Becket" mention is 
made of regular theatrical performances, and miracle plays 
continued to be performed until about the year 1400, when 
minstrelsy and interludes gradually increased. 

Richard the Third, however, was the first king to take in- 
terest in theatricals. King Henry VIII. was also very partial 
to these amusements, and had plays mounted in every detail 
of elegance. The first tragedy was produced before Queen 
Elizabeth in 1561. It was written by Thomas Sackville, 
assisted by Thomas Norton, and was called " Ferrex rnd 
Porrex," but perhaps better known as "Gorboduc." To 
Nicholas Udal, however, belongs the distinction of having 
written the first English comedy, and although " Gorboduc " 
was produced a year before " Roister Doister," the latter had 
been written first. Shakespeare had not then completed hi9 
second year, and it is an interesting fret that the birth of the 
drama in England and the dramatist who gave it everlasting 
life should be exactly contemporaneous. Immediatelv ; fter- 
wards came the plays of Lyly, Marlowe, Hevwood. Middle- 
ton, Rowley, Marston, Chapman, Dekker, Webster, Beau- 
mont, Ford, Fletcher, Massin^er — and the giant that towers 
over them all, the pride cf England and the greatest of the 
human race — Shakespeare. 

Richard Burbage was the first great actor England had. 
He was a contemporary of Shakespeare, and the original con- 
ceptions and traditions of these two masters were in turn 
handed down from actor to actor. 

Those most prominent to survive Burbage were Joseph 
Taylor and John Lowin. In the year 1647, when fanaticism 
ruled the laws cf England, the theatre was for the first and 
only time abolished by Parliament. The players were driven 
into the country, but after twelve years cf civil strife Charles 

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II. landed in England and the surviving players wept for joy. 
Many of these had taken arms against the Roundheads, not- 
ably Michael Mohun, Charles Hart and Nicholas Burt. Two 
theatres were established under the direction of Sir William 
Davenant and Thomas Killigrew. The foremost actor of this 
period was Thomas Betterton, surrounded by such a coterie 
as Sandford, Smith, Harris, Underhill, Doggett, Mrs. Brace- 
girdle, Mrs. Barry and Nell Gwynne- It was during this 
epoch that women were substituted for the boys who had 
heretofore played the female roles. This innovation, at a 
time when the morals of the Court were on a level with the 
pavement, defiled the otherwise literary period of Dryden, 
Wycherley, Vanbrugh, Farquihar and Congreve, also render- 
ing immortal the memory of that delightful old gossip, Samuel 
Pepys. Only Thomas Betterton and his wife, by the purity of 
their lives, not less than the greatness of their careers, stand 
forth as shining lights in that age of profligacy. On an in- 
come of $800 a year Betterton accumulated a modest fortune. 
He died in 1710, aged 75. 

The production of Addison's " Cato," three years later, in- 
troduces the succeeding group of actors, Barton Booth being 
the most distinguished player of the reign of Queen Anne. 
Political influences between Whigs and Tories were such as 
to render the production of the tragedy memorable. The 
cast comprised the representative actors and actresses of the 
day : Barton Booth, Colley Cibber, Robert Wilks, George 
Powell, John Mills, Lacy Ryan, Bowman, Kean, Mrs. Barry, 
Mrs. Oldfield and Mrs. Porter. Booth retired in his forty- 
sixth year en account cf declining health, and died in 1733. 

The first and second Georges, with strong preferences for 
bear-baiting and tight-rcpe dancing entertainments, did no- 
thing to foster the favorable conditions of the drama 
achieved during the days cf Anne. The most conspicuous 
figures of the theatre were Charles Macklin, famed for his 
performances of Shylcck and Sir Archy, as well as for having 
had the distinction of playing Macbeth after Ire had attained 
his one-hundredth birthday ; James Quin, Mrs. Elizabeth 
Barry, Lavinia Fenton, Mrs. Pritchard and Kitty Give, until 
the advent of the great reformer, David Garrick, who, at a 
single bound, outdistanced Quin, the established tragedian of 
the day. He had been famous feir his Falstaff, Cato and 
Coriolanus, but, realizing his defeat, gracefully retired. Mack- 
lin, who died in 1797, aged 107, had been something of a re- 

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former, he being the first actor to rescue the character of 
Shylock from the list of comic parts to play it seriously. In 
1744 he produced " Othello," after announcing that the chief 
character would be " dressed after the custom of his coun- 
try," for up to that time, and for a long time afterwards, 
Othello wore an English officer's uniform. 

David Garrick, a little wine merchant, within a week after 
his first London appearance (1741) was known to all Eng- 
land, and for a period of thirty-five years was the idol of the 
stage. His school was the closest yet to nature, and his 
many needed reforms led the way to the since elevated con- 
dition of the stage. Actors were not permitted to address 
the audience across the footlights with insolent familiarity; 
nor would he allow certain spectators to commingle with the 
performers on the stage ; and he it was who first introduced 
footlights by the use of candles. Strange, however-, that he 
should not have given closer attention to the details of cos- 
tume, choosing to play all his characters in the Court dress 
of the period. His closest rival was Spranger Barry, the 
silver-toned, who stood foremost in the bright galaxy of the 
period, including Mrs. Woffington, Mrs. Abington, Mrs. T. 
Cibber, Mrs. Bellamy, Anne Barry, Mrs. Yates, Samuel 
Foote, Edward Shorter, John Moody, Thomas Weston, Wm. 
Smith, Henry Mossop, Thomas King, Thomas Sheridan, 
Charles Bannister and West Digges. 

In 1779 Garrick was laid in Westminster Abbey, to sleep 
with kings and heroes, and for a short time John Henderson 
drew public attention by the excellence of his Hamlet and 
Falstaff. About his generation were clustered Wm. Lewis, 
Henry Johnston, John Palmer, Mrs. Hartley, Mrs. Inchbald, 
Miss Linley and Miss Pope. 

Probably the most interesting group of stars in the an- 
nals of the British stage came in immediate succession, headed 
by Mrs. Siddons and her brother, John Philip Kemble, their 
most illustrious contemporaries being Geo. F. Cooke, Joseph 
G. Holman, R. W. Elliston, John Fawcett, Wm. Farren, 
Mrs. Jordan, Miss Eliza O'Neill, Wm. Dowton, Munden and 
Charles Mayne Young, Kembk's most distinguished disciple. 
Closely following are included Charles Kemble and Edmund 
Kean. With Mrs. Siddons and John P. Kemble many re- 
forms in costuming were brought about, and in his manage- 
ment of Drury Lane, Kemble otherwise contributed materi- 
ally to the advancement of the drama. Cooke was his most 

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formidable rival. Byron said that of actors Cooke was the 
most natural, Kemble the most supernatural, Kean the medi- 
um between the two, but Mrs. Siddons was worth them all 
put together. She died in 183 1, having survived her brother 
eight >ears. Kemble retired from the mimic scene in 1817, 
when many worthy representatives were meeting with more 
or less success, among whom were : Junius Brutus Booth, 
John Vandenhoff, Alex. Rae, J. W. Wallack, sen., and W. A. 
Conway. The mantte of Kemble, however, wa; reserved for 
\V. C. Macready, whose efforts in the line of theatrical ad- 
ministration culminated in the achievement of a glorious car- 
eer to the time of his retirement in 185 1. His revivals were 
the most artistically complete seen until those of Irving. 

A close second to Macready was Samuel Phelps, during 
eighteen years of management of Sadler's Wells Theatre from 
1844, wherein he produced thirty-one of the Shakespearean 
series, besides many of the old and modern classical plays. 
In 1878 the theatre was pulled down. The same week Phelps 
dred, aged 72. 

Then came the laudable efforts of Charles Kean, at the 

Princess Theatre in 1850, whose marvels of scenic splendor 

were unfortunately marred by ovelr-elaborate trappings ; and 

lastly the Lyceum productions of Sir Henry Irving, who has 

eclipsed them all in point of artistic perfection and effect. 


As early as 1538 dramatic performances in the new world 
were given at Tlascala, Mexico, under the direction of Fray 
Toribio de B«enevente, as recently recorded by John Malone. 
The French in Louisiana also presented plays long before 
the establishment of the English drami in America. 

David Garrick was in the zenith of his fame in England 
when William Hallam, as manager of Goodman's Fields The- 
atre, became bankrupt in 1750. His creditors, holding him 
in high esteem, left him in possession cf his theatrical ward- 
robe and sufficient capital to start anew in life. He was one 
of four brothers, the others being Admiral Hallam, Lewis, 
who subsequently accompanied him to America, and the 
fourth, also an actor, was accidentally killed by the tragedian. 
Charles Macklin. William and Lewis Hallam picked out a 

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company of twelve adult performers, and in May, 1752, the 
troupe of adventurers embarked on the "Charming Sally," 
Capt. Lee, and after a voyage of six weeks, landed at York- 
town, Va. The company included William, Lewis, Mrs., 
Miss and Master Hallam, Miss Palmer, Messrs. Rigby, 
Clarkson, Singleton, Herbert, Winnel and Malone. During 
the voyage they had passed over many tedious hours in re- 
hearsing on deck some twenty plays, so that by th-e time they 
reached the Western country they were pretty well organized. 
Their first performance w£s given 5th September, 1752, the 
play being M The Merchant of Venice." This was the first 
company of any note in this country, but the credit cf the 
original English performance in America is due to another 
English company just twenty years before, when perform- 
ances were given three times a week in a large room in the 
upper part of a building occupied by the Hon. Rip Van Dam 
in New York. They played during the month cf September, 
1732, closed in October, resumed in January, 173/,, and dis- 
banded a month later. The Hallams, however, may be pro- 
perly styled the promoters of the American stage. 

In 1756 Lewis Hallam, sen., the manager, died, and shortly 
afterward his widow married David Douglass, who there- 
upon assumed the management of the company. After a 
long circuit throughout the W<ist Indies and the Southern 
States, Douglass decided to bring his company North again, 
and in 175S they arrived in New York. Such, however, was 
the discouraging reception there that after an indifferently 
successful season they determin-ecl to try their fortunes once 
more in the Quaker City, despite the strong opposition they 
were assured of meeting. 

Accordingly, Douglass obtained permission from Governor 
Denny to erect a theatre in Southwark, and on 25th June, 
1759, the " new theatre on Society Hill " was opened under 
as favorable auspices as could be expected with the trapedv 
of " Tamerlane/' followed by the farce, "The Virgin Un- 
masked, or an Old Man Taught Wisdom," with singing by 
Mrs. Love, a talented member of the company, in the inter- 

April 24, 1767, is marked as the notable day upon which 
was produced the first American play acted in America the 
"Prince of Parthia," by Thomas Godfrey, jun., the son of the 
inventor of the quadrant. 

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During the winter cf 1769-1770 the company passed a com- 
paratively uneventful and successful season at the " Southr 
wark," but did not appea/r again till October, 1772, when 
they found the city stirred by dark omens of the coming con- 
flict. The great event of this season was the presentation 
on February 17 of the second original American drama ever 
performed on an American stage, " The Conquest of Canada, 
or the Siege of Quebec/' the exact authorship of which is, 
however, unknown. 

Officers of the British army and navy took part in the 
play, having with them artillery, boats and other suitable 
paraphernalia. The doors were opened at 4, and the play be- 
gan at 6. Whether or not the play was a signal success has 
not been recorded. The last season in Philadelphia before 
the Revolution was for two weeks only, in November, 1773, 
notable for two facts — the little interest shown in the stage 
and the sad death of Mrs. Douglass. 

An attempt was made by the company to give perform- 
ances in 1774, but owing to the resolutions of the Continental 
Congress, then sitting, discouraging every species cf extra- 
vagance, the only entertainment was a semi-dramatic melange 
including "The Lecture on Heads," and a recitation, "Bucks 
Have at Y>e All." 

The next time the curtain rcs>e to a play in the Southwark 
Theatre it was before a foreign audience of red-coats, and it 
was to be many long years before the members of the Ameri- 
can company were again to speak from the old familiar 

There being no inducements to visit Canada owing to the 
likelihood of trouble there, the company embarked for the 
West Indies, the more loyal colonies of George, where the 
climate, however, cut the thread of life of nearly two-thirds 
of this original company. 

Lewis Hallam, jun., destined to reorganize theatricals after 
peace had been declared, went to England. 

Let us then bid adieu to these faithful colonial actors, for 
when we meet them again they will be owing allegiance to 
another master. They did their part nobly, suffered patient- 
ly, labored unceasingly, and were throughout courteous, re- 
fined and courageous. 

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" The memortals and things of fame, 
That do renown this city" 

Twelfth Night, Act 3, Sc. 3, 

The Canadian metropolis, with its wall built by King Louis 
of France sixty-two years before, enclosing a population of 
some five thousand inhabitants, scarcely promised its noble 
aspect of a century later, with its beautiful storied scenes and 
picturesque panorama so closely dotted with the steeples of 
magnificent temples, homes and warehouses so far as eye can 
reach, from the easy slopes of the mighty St. Lawrence to 
the abrupt ridge of Mount Royal, and ever and anon rich in 
bits of garden ground, in season so gorgeous with the lilac, 
geranium and rose tree, shaded by rows of the tremulous 
leaved maple. If the quaint old town is not so fair to look 
upon in 1786, much different is the pageant from right and 
left beyond its contracted area of one hundred acres. Here 
and there small ccttages and tree-bowered roads are alter- 
nated by richly laden corn fields and the yellow sheaves of 
barley (the first crop in the new France), while upon the near- 
est slopes directly across the broad blue line of the St. Law- 
rence, between ridges of wooded hills, small white cottages 
nestle on lawns of emerald velvet in close proximity to the 
superbly rising parish chapel, its spire gleaming as of burn- 
ished silver in the benediction of the golden sun. Close bv, 
and in the shadow of the chance 1 , lies the garden of hallowed 
rest. Beyond, vast ranges of wooded acclivity are discerned, 
on the line of horizon, the grisly mountains of the Adiron- 
dacks, faintly enwreathed in silver mist, while south-west a 
flood of crystal light reveals the Lake of St. Louis ; also the 
stream of the Ottawa glistening and gliding through wood 
and dale to its tributary confluence. 

" like to the Pontic sea, 

Whose icy current and compulsive course 
Ne'er feels retiring ebb, but keeps due en 
To the Propontic and Hellespont." 

Then the golden ligfht fades into that passing star-lit 
shadow so distinctive of a Canadirn summer gloaming. En- 

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suing years have beautified the City, but this pageant is little 
altered, blending so softly between past and present. 

From the altitude of Mount Royal, seven hundred feet, as 
one looks towards the town, is heard the distant rumble of 
traffic over stone-paved and narrow streets, "the spirit-stir- 
ring drum" rattling the old iron shutters, "the ear-piercing 
fife" and "the swollen bagpipe, singing i' the nose" for Mont- 
real is a military town, and on the Champ de Mars parades 
are in daily routine. The glittering appearance of a thousand 
tin-covered roofs, rendered dazzling by a burst of sunshine 
through clouds of silver and bronze, has not changed materi- 
ally to this day. From tire base of the mountain in a direct 
line to the creek (Craig St.) aire to be seen fields under culti- 
vation ; gardens, groves of the poplar, pine and maple ; the 
lingering ploughman and the sleek cattle. As we arrive at the 
St. Anne suburbs, a Sulpician father is seen to raise his hands 
and bless a grcup of frolicsome children as the Angelus is 
sounded by le gros bourdon. 

Within the precincts of the City proper, six months later, 
much excitement is rampant at intelligence received and duly 
published in Montreal's only newspaper, "The Gazette," that 
the wall, being obsolete and an eye-sore, is threatened to de- 
struction, and that the harbor, so dangerous and difficult of 
access, is to be improved. It is also rumoured that a fellow- 
ship of players is on its way to the town, and that carpenters 
are fitting up and enlarging the quarters in use by the ama- 
teur dramatic corps of the militia, under direction of the 
colonel, who has long been expecting the arrival of the 

" it so fell out that certain players 

We oer-r aught on the way; of these we told him; 

And there did seem in him a kind of joy 

To hear of *7." 

The regiment located in Montreal in 1786 was the 44th 
Foot, now the First Battalion, Essex Regiment, and its two 
senior officers were Colonel Henry Hope and Major Bryan 

Over such a scene the British flag had been waving twenty- 
three years, and that relict of French defence, the wall, had 
but fifteen more years of exhibition. A decade had passed 
since Washington in his protest against the misgovernment 
of King George, finding himself in desperate straits for muni- 
tions of war, commissioned the spirited Brigadier Arnold to 

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capture Quebec. The intrepid Arnold climbed the heights of 
Abraham, as Wolfe had done ; but got no further. In the 
meantime Montreal had fallen before Montgomery, who then 
joined Arnold and reversed his experience by falling before 
Quebec. We are familiar with the facts of the retirement of 
the American forces ; how the scourge of small-pox decima- 
ted their ranks, and, receding step by step, abandoned Canada 
by the end of the year — brave victims of merciless circum- 
stances in heroic realities of loyal love. 


" The actors are come hither, my lord." — Hamlet, Act 2, Sc. 2. 

During the last days of February, 1786, a company of 
comedians arrived in Montreal from Albany, where they had 
been located since the v^ariy part of December, 1785. The war 
of the Revolution was not at that time so far forgotten that 
there still existed a bitter feeling against the mother country, 
and the fact that these players were English, and on their way 
to Canada to meet better friends, was sure to arouse public 
feeling against them. They had much difficulty in being per- 
mitted to perform at Albany, but they finally succeeded and 
gave their first performance 9th December, 1785. They pro- 
duced several pieces, " until the season for passing the ice " 
arrived, when they departed for Montreal, where they per- 
formed in the quarters used for such purposes by the regi- 
mental amateurs. 

The members of the company were Messrs. Moore, Bentley, 
Worsdale, Duncan, Bellair, Pinkstan, Allen, Mrs. Moore, 
Bentley, Allen and Pinkstan. 

The first performance given was on Monday, 27th Febru- 
ary, the play being Oliver Goldsmith's "She Stoops to Con- 
quer," written in 1773. The cast was as follows: Young Mar- 
low, Mr. Moore ; Hardcastle, Mr. Bentley; Hastings, Mr. Wors- 
dale ; Tony Lumpkin, Mr. Allen ; Servants, Messrs. Bellair and 
Duncan ; Mrs. Hardcastle, Mrs. Bentley ; Miss Neville, Mrs. 
Pinkstan ; Maria, Mrs. Moore ; Miss Hardcastle, Mrs. Allen. 
This to conclude with Mr. Colman's droll comedy, "The 
Deuce is in Him/' Dramatis personae : Colonel Tamper, Mr. 
Allen ; Doctor Prattle, Mr. Moore ; Major Bedford, Mr. Bent- 
ley ; Servant, Mr. Bellair ; Mile. Florival, Mrs. Pinkstan ; 
Emily, Mrs. Bentley ; Belle, Mrs. Allen. 

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"The performance at six o'clock precisely. Tickets to be 
had at the inn ; no money to be taken at the entrance. Ad- 
mission to first places, eight shillings ; second, fou>r shillings; 
rear, two shillings. The room will be comfortably warmed." 

The company's repertoire consisted of O'Brien's fairce, 
" Cross Purposes," " Taming of the Shrew," " George Barn- 
well," the merits of which the manager set forth at length in 
its salutary influence in warning young men of the dangers 
that beset the path of him who follows after the strange wo- 
man, — " The Countess of Salisbury," a tragedy by Hall Hart- 
son ; Colman's farce, " The Deuce is in Him " ; William 
Lyons' "The Wrangling Lovers"; Mrs. Centliwe's "Busy 
Body"; Otway's "Venice Preserved"; "She Stoops to Con- 
quer"; Macklin's "Love a la Mode"; John O'Keefe's "The 
Fair American," "The Citizen," "Lethe," and "The West 
Indian/' It will be noted that, weak as the company ap- 
peared, they did not allow the legitimate to stagger them. 

Of the personnel of the company little is known, except that 
it is supposed that Mr. and Mrs. Allen were the parents of 
the eccentric Andrew Jackson Allen, afterwards dresser to 
Edwin Forrest. 

Bentley was a member of the orchestral corps at Phila- 

No records exist to show how long they remained ; but 
presumably for a short season, as Montreal's English popula- 
tion was very low, in the units of thousands, and possessed 
no theatre, besides which the Revolution's wave of adversity 
must have been still keenly felt. 

After a short sojourn at Quebec they re-appeared in Mont- 
real en route to New York, where they disbanded. 

Several of this company's members had been associated 
with Lewis Hallam, jun., at the first feeble attempts at histri- 
onism made in New York after the Revolution. Coming back 
from the West Indies, the players had spent a few unpro- 
fitable months in Philadelphia, and then a feeble detachment 
came on to New York with Hallam and opened the John 
Street Theatre, 24th August 1785. So pronounced was the 
opposition to plays at that time, that the entertainments were 
advertised as a series of lectures to begin with a prologue 
and end with a pantomime, the music selected and composed 
by Mr. Bentley. On 20th September they came out boldly 
with a play and produced " The Citizen," the first drama 

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played in New York after the Revolution. The season closed 
1st November, and Hallam, being encouraged to bring on his 
main body of artists, did so, and opened with them 21st Nov- 
ember, whereupon his advance guard, slightly recruited, went 
up the river to Albany and Montreal. 

Such is the story of the first regular company that came 
to Montreal. 

" To thine and Albany's issue 
Be this perpetual." 

It will be interesting to note that theatricals and the first 
Presbyterian organization in Montreal were precisely contem- 
poraneous, the first denominational service originating 12th 
March, 1786, just a couple of weeks following the first drama- 
tic representation here. 

Another coincidence between cburch and stage was the 
bap'.ism, 6th June, 1779, cf Wm. B. Wood, the first native- 
born Montrealer to achieve pronounced success in American 
theatricals. This actor records that the ceremony was per- 
formed by Rev. D. C. Delisle, the first Protestant minister re- 
sident in Montreal. Mr. Wood's parents had come to Mont- 
real prior to the breaking out of the Revolution, returning 
to the United States just in time to see the embarkation of the 
last of the English troops on the cessation of hostilities. The 
actor has left a record of the Philadelphia stage, but has un- 
fortunately made no other reference to the city cf his birth. 
After the departure of the original troupe there was a long 
dearth in matters theatrical, excepting the amusement of am- 
ateurs, principally military, nor do we know of any plays be- 
ing regularly presented until we come to 

THE FALL OF 1 798, 

when Rickett's Equestrian and Comedy Company of Phila- 
delphia arrived, and gave both equestrian and dramatic per- 
formances in this city. Their season was spread through the 
winter months, and it having been such a long period since 
the citizens had been visited by an attraction of this kind, 
they gave the performances their very best patronage, and 
the management made money, for Ricketts returned to Phila- 
delphia with his troupe thoroughly satisfied in having ven- 
tured a journey then considered to be most extraordinary. 

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The spot chosen was the south western corner of St. Paul 
and Bonsecours streets. 

The members of the troupe were : Equestrians, Mr. Rick- 
etts, F. B. Ricketts, Master Hutchins, Signor Spinacuta and 
Mr. Franklin. Histrions and Paniomitnists, Thompson, Cham- 
bers, Matthew Sully (died 1812), John Durang, Jones, Tomp- 
kins, Coffie, Miss Robinson, Mrs. Chambers, Mrs. Durang 
and Mrs. Tompkins. 

JOHN DURANG was the father of Charles Durang, the historian 
of the Philadelphia stage. He was born in Lancaster, Pa., 6th Janu- 
ary, 1768, and died 28th March, 1822. 


Ricketts' Circus revisited Montreal on several occasions, 
and there is no doubt that the officers of the various military 
corps stationed at Montreal organized clubs for the purpose 
of giving amateur theatrical performances long before Mr. 
Ormsby arrived here from New York and Albany, and, with 
the assistance of local sympathizers, undertook the construc- 
tion of stage appurtenances in the upper part of a large and 
long stone warehouse standing next door to the Post Office, 
then situated on St. Sulpice Street, near St. Paul Street, and 
somewhat isolated. This was Montreal's 

First Theatre (1804), 
St- Sulpice street, near St. Paul. 

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Mrs. Centlivre's "Busy Body '' (based on Dryden's "Sir 
Martin Marall," 1667), first produced in 1708, and Bicker- 
staff's " Sultan," first produced in 1775, were the two pieces 
presented on the opening night, 19th November, 1804. The 
following advertisement appeared in the issue of the Gazette 
on the morning of the performance : 



"Mr. Ormsby, from the Theatre Royal, Edinburgh, respect- 
fully informs the ladies and gcn.le.r.en cf Montreal that he 
intends (with their approbation) establishing a company of 
comedians) in Canada to perform in Montreal and Quebec al- 
ternately. The theatre in this city is fitted up in that large 
and commodious house, next door to the Post Office, where 
will be presented this evening (19th November, 1804) a 
comedy in five acts called ' The Busy Body/ to which will be 
added the much-admired farce called 'The Sultan.' N.B. — 
Particulars in advertisements for the evening. Boxes, 5s. 
Gallery, 2s 6d. Tickets to be had at Mr. Hamilton's Tavern, 
Montreal Hotel and at the theatre, where places for the boxes 
may be taken." 

A number of old comedies were produced during a short 
and unprofitable season. Mr. Ormsby returned to New 

t. ORMSBY had been in America a few years when he ap- 
peared in Montreal. He had been for a long time connected with the 
Edinburgh stage, and after coming to America was, in 1800, the 
manager of the Albany Theatre. We again find him there in 1808. 
There is no existing record to show that he ever returned to Mont- 
real. He never rose to any prominence in America, and soon re- 
turned to his native country. 

Lambert, in his book of travels, is the historian for the two 
following years, and in writing of 


says : "An attempt was made to introduce a company from 
Boston in conjunction with the Canadian performers. I went 
one hot summer evening to see them perform in ' Katherine 

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and Petruchio/ but the abilities of the Bostonians were nearly 
eclipsed by the vulgarity and mistakes of the drunken Kath- 
erine, who walked the stage with devious steps and con- 
vulsed the audience with laughter, which was all the enter- 
tainment we experienced in witnessing the mangled drama 
of our immortal bard. ,, 

The Bostonians did well in Canada during that season, 
their clothing and " sleek " appearence being noted by Lam- 

In the absence of clearly authentic records disclosing the 
personnel of this corps dramatique from Boston, it may not bo 
misleading to choose certain names from the following list, 
which comprised that portion of the roster attached that year 
to the Boston house as being the most likely to have under- 
taken so arduous a venture as to come to Montreal. The 
managers of the Boston company were Charles S. Pownell and 
Mr. Dickson. The others were Mrs. Jones, Mrs. Harper, 
Mrs. Pownell, Mrs. Dickson, Miss Bates and Mrs. Young; 
Messrs. Harper, Usher, Taylor, Barrett, Bignall, Kenny, Wil- 
mot, S. Pownell, Wilson, Chalmers, Fox and Sauberes. 

Several subsequently became familiar figures on the Mont- 
real boards. 

Mr. and Mrs. C. S. Pownell were also for many years con- 
nected with Halifax theatricals. He died there in 1810. 


"There is a theatre in Montreal, but the performers are as 
bad as the worst of our strolling actors ; yet they have the 
conscience to charge the same price, nearly, as the London 
theatres. Sometimes the officers of the Army lend their as- 
sistance to the company, but I have seen none except Col. 
Pye and Capt. Clark, of the 49th, who did not murder the best 
scenes of our dead poets- It may be seen how despicably 
low the Canadian theatricals must be when boys are obliged 
to perform the female characters ; the only actress being an 
old superannuated demi-«iep>, whose drunken Belvideras, Des- 
demonas and Isabellas have often enraptured a Canadian 

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"IV ill you walk with me about the town ? 
Peruse the traders, gaze upon the buildings t 

Comedy of Errors, Act 1, Sc. 2. 
Our clean-shaven friend with his silk hat and garment of 
formal contemporaneous cut, after arriving from the United 
States by stage, would notice in his walks about the town 
that the city in 1806 possessed a Presbyterian church and an 
unfinished Episcopalian church, two Catholic chapels, three 
nunneries, Hamilton's city hotel and a primitive theatre. 
If he took time to count the number of houses in the city rue 
would have found 1,578, and if his theatre had been large 
enough to accommodate every resident, its walls would have 
contained 5 014 females and 4,554 ma!es, or a total of 9,568. 
The only mode of conveyance he had between Montreal and 
Quebec was by means of stages and batteaux, until 3rd Nov- 
ember, 1809, when John Molson, of Montreal, sent the first 
steamboat, "The Accommodation/' to Quebec with ten pas- 

Several members of the 1806 company undertook perform- 
ances during 1807, but met with little or no success, and it 
was not until the following year that our playgoer became 
more fortunate in the class of attractions presented. 

Seth Prigmore was the next manager. He arrived late in 
the Fall of 1807, and at once began the reconstruction of the 
existing theatre, which he re-opened as 


on 7th January, 1808. 

In reference to the Prigmore season the Gazette of 4th 
January, 1808, says: "Mr. Prigmore presents his respectful 
compliments to the ladies and gentlemen of this city and its 
vicinity, and begs leave to inform them that on account of the 
holydays he has been able to keep his carpenters to that 
work, as was his first calculation ; in consequence of this and 
other unavoidable circumstances, he is obliged to postpone 
the opening of the new theatre until Thursday next, the" 7th. 
He therefore humbly hopes this will meet the approbation of 
his patrons and the public in general, conscious he has and 
evermore will exert the utmost of his abilities to merit their 

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patronage and support." A packed house greeted the com- 
pany in Colman's "Heir-at-Law" on the opening night. The 
interior had undergone considerable repairs and embellish- 
ments; stoves had been placed in different parts of the house, 
the gallery frequenters were kept in strictest subjection, and 
no intoxicants sold. On 18th February "The Tempest" was 
produced, the principals in the cast being : Prospero, Mr. 
Prigmore, and Miranda, "by a young lady of the city, being 
her first appearance on any stage. Between the play and the 
entertainment, a favorite song, to which will be added the 
musical entertainment called 'The Purse, or the Benevolent 
Tar/ Mr. Prigmore as Will Steady. Doors to be opened at 
5 o'clock and performance to begin at 6. Boxes, $i ; pit, 50c; 
gallery, 25c." This performance was repeated by request*. 
The young lady referred to is believed to have been the 
daughter of Hamilton, the inn-keeper. 

Several other plays were produced under the Prigmore 
management, and on 28th May the following announcement 
appeared in the Gazette: 

"Theatre. — The public are respectfully informed that the 
theatre will be opened for a few nights longer. On Friday 
evening, 27th May, will be presented a celebrated tragedy writ- 
ten by W. Shakespeare, called : 



Characters : Othello, Luke Usher ; lago> Seth Prigmore ; 
Cassio, Mr. Taylor ; Rodcrigo, Mir. Kennedy ; Montano, Hop- 
kins Robertson ; Gratiano, Benjamin Can* ; Desdemona, Mrs. 
Robinson ; Emelia, Miss Hamilton. 
To which will be added the favorite farce called the 


Characters : Gulwell, Mr. Taylor ; Donald Mcintosh, Mr. 
Robertson ; Pat 0' Carroll, Mr. Prigmore ; Frenchman, Mr. 

"Doors open at 6.30 and performance at precisely 7.30. 
Tickets to be had from Mr. Brown's book store until four, 
afterwards at the theatre. Places for the boxes mav be taken 
as usual: Boxes, 5s.; pit, 2s. 61 ; gallery, is. 3d. No liquor 

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to be sold in the theatre." This was the first professional per- 
formance of " Othello " in Montreal, and marked the first ap- 
pearance here of Usher and Robertson. 

The following editorial also appeared : " We understand 
that on Friday evening next will be presented Shakespeare's 
celebrated tragedy of *' Othello.'' The principal character 
will be played by Mr. Usher, from the Boston Theatre, who. 
for a long time in that company, has played the principal 
characters with distinguished success. We doubt not, now 
we find order and regularity observed in the theatre, that suc- 
cess will attend it ; and from the attractions both of pieces 
and performers we do not hesitate to say there will be a 
numerous audience." 

In reference to a benefit performance to Mr. Usher, ihe 
following personal appeared in the Gazette of 23rd June, 1808: 
" Mr. Usher respectfully informs the public, that understand- 
ing a large party of ladies and gentlemen will be assembled 
on St. Helen's Island on Thursday afternocn, by a special in- 
vitation he has been induced 1 by the request of a few friend9 
to postpone the entertainments advertised for Thursday until 
Friday evening, 24th June, when will be presented a celebra- 
ted play in five acts (translated from the German of Schiller) 
called 'Abaellino, the Great Bandit/ This play is universal- 
ly allowed to be the chef d'oeuvre of Frederick Schiller, 
whose fame as a dramatic writer has so resounded through 
the continent of Europe that he was particularly called 'the 
Shakespeare of Germany.' It has been performed in London 
and in the different theatres of the United States with dis- 
tinguished approbation. Abacttino, Mr. Usher ; Rosamunda, 
Miss Hamilton. ft> which will be added the favorite farce of 
'Raising the Wind': Diddler, Mr. Prigmore; Sam, Mr. Ush- 
er, in which he will introduce the song of the 'Farm Yard.' 
The windows of the theatre will be kept open, and every at- 
tention paid to keep the place cool and comfortable." 

Prigmore found after one year's management that his 
efforts were not sufficiently profitable to warrant his continu- 
ance of the management. When he came here he had al- 
ready advanced in years, and as an artist had lost considerable 
of his old-time brilliancy. 

SETH PRIGMORE was an Englishman who came to America 
in the Fall of 1792. His first appearance on the stage in this country 
was at Philadelphia, where he remained four months, after which he 

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went to New York, opening at the John St Theatre, 28th January, 
i/93» as Lord Scratch in the comedy of "The Dramatist" He subse- 
quently appeared in all the leading cities of the East, chiefly in the 
lighter comedy roles, but never succeeded in establishing himself in 
the front rank of his profession. 

Mr. Prigmore played generally the comic old man; but his gri- 
maces and low buffoonery made him far from acceptable to the judi- 
cious. Yet he was a favorite with the gods of Olympus. He was 
ever annoying in private life and offensive to the well-bred actor and 
gentleman. In a tour in Lower Canada in 1809, Durang says: "We 
met Mr. P. in a huge sleigh near Trois-Rivieres- He was wrapped up 
in a buffalo robe, a bonnet rouge was on his head, such as the Canadian 
peasantry wear ; a wampun belt was buckled around his waist, and 
Indian moccasins were on his feet. With his red face and burly form, 
he appeared like one of the ancient French landed proprietors, or 
like one of the half-breedcd chiefs. He had some three or four per- 
sons with him, whom he called his company, and was then en route to 
play at Quebec." 

Bernard thus describes Prigmore: A man of some vanity and 
little merit, whose opinion of himself was in inverse proportion to 
that of the public." One of the peculiarities of this person was to sup- 
pose (though he was neither handsome or insinuating) that every 
woman whom he saw, through a mysterious fatality, fell in love with 
hinn There was a very benevolent widow in respectable circum- 
stances, who frequently went to the theatre and was kind enough to 
enquire into the pecuniary condition of the players. Among others 
she asked about Prigmore and was told that he had a very small sal- 
ary and made a very poor appearance. Hearing of ihis she remem- 
bered that she had a pair of her late husband's indispensables, which 
she resolved to offer him- A servant was dispatched to the object of 
her charity, who met one of the actors and partly disclosed his busi- 
ness. The latter went in search of Prigmore and exclaimed, " Prig- 
more, my dear boy, here's your fortune made at last, a rich widow has 
fallen in love with you and wants to see you." Prigmore was led to 
the servant in a state of bewildered rapture, and was told to call on 
the lady. His friend circulated the joke in the green room, and sev- 
eral waited on Prigmore to extend congratulations. Prigmore, as 
may be supposed, passed a sleepless night and spent an extra hour at 
his toilette next morning. He was ushered into the widow's parlor 
and began to felicitate himself at the aspect of his future home. The 
lady at length appeared- She was upon the verge of forty, a very 
fashionable age at that time, which, resting upon the shoulders of a 
very comely looking woman, seemed to be in character with her 
dwelling. • She acquainted him that she had heard his situation was 
not as agreeable as he could wish, and that she was desirous of doing 
him all the service that lay in her power. Prigmore, considering this 
as an express declaration of her affeclions. was about to throw himself 

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at her feet, when she suddenly summoned her servant and said, 
** Rachel, bring the breeches !" They were brought before the as- 
tounded Prigmore, and as the lady folded them she remarked that they 
were as good as new and begged his acceptance of them. 

" And was it for this you sent for me, madam V 

a Yes, sir." 

He put on his hat and walked to the door. 

" Won't you take the breeches, sir ?'* 

" Wear them yourself !" 

The reader must pardon this little digression* 

" HOBLE " IiUKE USHER had a most retentive memory, being 
able to memorize from twelve to fourteen lengths (42 lines to a 
length) in a day and repeat the words verbatim from the text He 
first appeared on the American stage at Washington, D.C., in 1800, 
and during the same year married Miss Snowden, nee U Estrange, 
in Philadelphia, where he played a short engagement. The couple 
then went to Boston, becoming members of the company there, sub- 
sequently coming to Montreal. After closing his Montreal engage- 
ment, he went to Kentucky, where at Lexington, in the month of Oc- 
tober, 1808, he opened the first theatre in the "Western country/'the 
opening piece being "The Sailor's Daughter," and the characters per- 
formed by the Thespian Society. Returning to Montreal in 1809-10, 
he became associated with Mills in the management of the theatre. In 
1812 he opened the first theatre in Frankfort, Ky. In 1814 he made 
his New York appearance for the first time at the Anthony Street 
Theatre as Gloster in Richard III. 

Usher organized a company to play in Kentucky and died on his 
way thither the same year. He was buried at Lexington. 

MRS. LUKE USHER, rue Harriet L'Estrange, was the daughter 
of the actress, Mrs. L'Est range, who died at Annapolis, 26th August, 
1790. Mr. L* Estrange died at Baltimore in 1804. Miss L* Estrange 
was on the stage in Philadelphia in 1796. She was of a tall figure, lady- 
like in appearance and manners. Her complexion was dark and her 
face handsome. She was thin in person and seemed physically deli- 
cate. Mr. Snowden, a young Philadelphian, fell in love with her in 
her early life as an actress, and they were married. After his death 
she married Usher in 1800. She held a lease of the Quebec theatre 
for a time (1800-1810), playing occasionally with the officers. One of 
these, Durang says, a Lieut. Wood, was a capital performer, and a 
good scenic artist Mrs- Usher died 28th April, 1814, at Louis ville,Ky. 

HOPKINS ROBERTSON was greatly liked for the excellence 
of his work in serious roles and for his delineation of Scottish char- 
acters. He had been for several years at the Park Theatre, where he 
had been greatly esteemed- By his presence of mind, at the burning 
of the Richmond Theatre in 181 1, he succeeded in saving many lives. 
He died in his forty-eighth year in New York, 10th Nov., 1819. 

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TAYLOR was an Englishman who gained many laurels in 
America for the excellence of his acting in the leading roles. He at- 
tained some notoriety on the occasion of his first appearance in Bos- 
ton in 1704 as Octatwn in " The Mountaineers*" by wearing a natural 
beard grown for the occasion. 

BENJAMIN CABR came from England to reside in Philadel- 
phia, where he first engaged as a music dealer and publisher. Being a 
thorough musician and having a pleasing voice, he went on the stage, 
first in New York in 1794, in " Love in a Village" After several 
years he returned to teaching music in Philadelphia, where he died 
24th May, 1836. 

MR. ALLPORT, IN 1809, 

was Prigmore's successor as manager of the theatre. He 
was a scerre painter and a good oil portrait artist, but a very 
poor actor. He engaged Mr. Mills in June to play leads. 
The others in the company were Charles Durang, John John- 
son, Horton, John D. Turnbull, Anderson (an Englishman 
who acted as prompter), Mrs. Milk, Mrs. Allport, who after- 
wards became Mrs. Horton, and Mr. and Mrs. Young. Mrs. 
Young subsequently became the great Mrs. Hughes. 

The theatre during the season was only opened as occa- 
sion served. During the month of July, John Bernard, a 
well-known English comedian, visited Montreal, and de- 
scribes the situation of its theatricals. 

" I found a company playing at Montreal as deficient in talent as in 
numbers. Johnson, their acting manager, whom 1 had myself brought 
on the stage and laid under some obligations; Mills and Usher, the 
only actors of merit, were both from my own company and had left 
Boston, the former a month and the latter a year previous, and with 
the same object, that of anticipating me in securing the Canadian cir- 
cuit, they having learned from my own lips that I intended to apply 
for it on the expiration of the lease of the Boston Theatre. Usher had 
so far succeeded as to obtain the Quebec house in the name of his wife 
for five years, but Mills had done nothing here, as the public were 
crying out for a new theatre and he had neither the money to erect 
one or friends to do so for him. Having many letters to the first 
families in the town, I at once delivered them, and. returning home 
highly gratified with the reception I had met with, I addressed a note 
to the theatre, expressing my wish to perform for a few nights, but 
received no answer. In consequence of this neglect, at which, how- 
ever. I was not surprised after the attempt that had been made to 
forestall me. I gave out my bills for an evening's entertainment, and 
the news of my arrival soon spreading, was waited on a few hours 

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later by several gentlemen of the town to know why I did not per- 
form. I referred them to the management, to whom therefore a note 
was immediately forwarded, acquainting them that there would be no 
attendance at the theatre unless I was engaged. A low fellow (Allport), 
a scene painter, was accordingly sent to me to treat for terms, who ac- 
tually offered me the whole concern for $300; but, not inclined to talk 
of this, I told him 1 would engage with them on my usual terms, viz.: 
to perform six nights for a clear benefit, which was agreed to. As 
from their slight pretensions to support, the company had hitherto 
met with but little success, they resolved to take benefits during my 
six nights as their only remaining chance of indemnification. The 
houses proved all good and my own an overflow, an assurance to me 
what Montreal could do for a manager when any proper inducement 
was offered to it. Mr. Mills had declined my services on the night 
of his benefit, but being much in debt, had not found its profits to re- 
lieve him, and therefore made interest with some friends in the town 
to get a second. They told him it would be of little use unless I stayed 
to play for him, which was not more a compliment to my talents than 
a proof of the wretched condition of the company. Much against his 
inclinations, therefore, he was obliged to come to me with a stooping 
neck to ask the favor. Though I felt that I might have justly retal- 
iated, I chose rather to appeal to the man's better feelings, so agreed 
to play for him, with the result that he cleared more money than had 
been in the house altogether on the previous evening." 

John Bernard terminated his Montreal engagement 20th 
July, and on his way to Quebec stopped off at Three Rivers, 
where he was the guest of General Sheaf , who, with his wife, 
are mentioned by the comedian as clever amateur musicians. 
At Quebec he was under the patronage of Col. Pye, who was 
then at the head of tire Amateur Association in the Reck 
City. Judge Sewell also manifested interest in Mir. Bernard, 
whom he had known some twenty-eight years previously «it 
Bristol. Six performances were given at Quebec, his charac- 
ters being Vapid, Gregory, Gubbins, Sir Robert Bramble. Alla- 
pod and Dashwood, with Lord Ogleby and "The Liar" for his 
benefit, which netled £95, not including ten guineas which 
Governor Craig sent him for his ticket. 

JOHN BERNARD was the first actor of prominence to visit 
Montreal. He was gifted with superior talent both as an actor and as 
an author. He was born in Portsmouth, England, in 1756. His father 
was a naval officer, and a relative of Sir Francis Bernard, a British 
governor of Massachusetts, who was so unpopular in that colony 
that, when he was recalled in 1769. Boston celebrated his departure 
by salvos of artillery and general demonstrations of public joy. 

In 1774 John Bernard began a professional career destined to 
last with honor, if not with profit, for half a century. 

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He was a member of a strolling troupe for a short time, but soon 
gained admittance into the regular company which served the Nor- 
wich circuit. Here he met Mrs. Cooper, an actress of great versatility, 
whom he married in 1774. In the winter of 1777-78 Mr. and Mrs. 
Bernard joined the company at the Bath Theatre, then the most im- 
portant in England outside of the metropolis. There they made their 
first appearance as Gratiano and Portia to the Shylock of Henderson. 
There they played Sir Benjamin Backbite and Mrs, Candor, in the first 
performance of "The School for Scandal," out of London. From 1780 
until 1784 Bernard acted in Ireland, where he was associated with 
such stage giants as Miss O'Neill and John Kemble. On the 19th of 
September, 1784, Bernard made his first appearance in London and at 
the Covent Garden Theatre, playing Archer in the " Beau's Strata- 
gem," Mrs. Bernard taking the part of Mrs. Sullen. In London Ber- 
nard made many friends ; his associates were Sheridan, Selwyn, Fox 
and the leading wits and men about town; and in 1789 he was elected 
secretary of the famous Beefsteak Club, an honor of which he was 
always very proud. 

His first wife having died, he married again, in 1795, a Miss 
Fisher, who had a short and unimportant career on the stage, dying 
ten years later in America, to which country he carried her in the 
summer of 1797. His engagement was with Wignall, the Philadel- 
phia manager, at a salary of £1,000 a twelve-month, at that time 
an unusually large amount; and he made his first American appear- 
ance on August 25, 1797, at the Greenwich Street Theatre, New York, 
as Goldfinch in " The Road to Ruin." During the six years Bernard 
spent in Philadelphia he played, besides the comedy parts for which 
he was engaged, Shylock, Falconbridge, Hotspur and others in the ab- 
sence of a leading tragedian in the company. He went to Boston in 
1803, where, in 1806, he became joint manager with Powers, of the 
Federal Street Theatre, and sailed for England in search of new at- 
tractions for his company. With a third wife, a Miss Wright, he re- 
turned to Boston the same year, and remained there at the head of 
affairs in the Federal street house until 1810. After professional tours 
in Canada, he acted in the Thespian Hall at Albany, N.Y., and opened 
January 18, 181 3, the first regular theatre — that on Greene street — 
which Albany possessed. In 1816 he went upon a tour through the 
United States, being one of the earliest moving "stars" in the Amer- 
ican theatrical firmament. In the autumn of 1817 he returned to the 
stock company of the theatre in Boston, and took his farewell of the 
American stage in the " Soldier's Daughter," April 19, 1819, deliver- 
ing a farewell address, and going home to England as heartily liked 
and as sincerely regretted as his colonial relative of half a century be- 
fore was hooted and despised- He died in London, November 29, 
1828, in very poor circumstances. 

MR. and MRS. WM. S. TURNER were born in England, and 
came to America as the early pioneers of the drama. In 1815 he 
opened the first theatre in Cincinnati. He was originally a printer. 

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but his individual merit was said to be in cooking canvas-back 
ducks. He returned to printing in 1830, in partnership with his son 
Frederick, in Philadelphia, where he died. 

Sophia Turner was ladylike in her deportment on the stage, and 
showed great professional culture. She died in 1853. 


managed the affairs of the theatre, being at the head of a 
small company which also included Messrs. Douglass, John- 
son, Bernard, Harper, Kennedy, and Mrs. Mills, Turner, 
Hairper and Cipriani. On 9th April a benefit was tendered 
Mrs. Harper, when the comedy of "Ways and Means" was 
produced together with the melodrama of "Tekell, or the 
Siege of Mongatz," written by Theodore E. Hook. On 
Shakespeare's birthday, 23rd April, Kennedy took a benefit 
in Schiller's "Robbers" and "The Indian Princess." This 
was followed by another benefit performance on the 30th for 
Joseph Harper in " Clemence and Waldemair " and " TekeUV' 
On 1 6th July Kennedy took his benefit, Mrs. Inchbald'6 
" Lovers' Vows " being the bill, with the following cast : 
Baron Wildenheim, David Douglass,; Count Cassel, John Mills; 
Fred Friburg, Mr. Kennedy; Anhalt, John Johnson; Verdun, 
John Bernard ; Agatha Friburg, Mrs. Eliza Mills; Amelia 
Wildenheim, Mrs. Sophia Turner; Cottager's Wife, Mrs. Cipri- 

Concluding with a farce called " The Jew and Doctor." 
On 19th Mrs. Turner's benefit was in " Laugh When You 
Can," with trie farce, "The Spoiled Child." 

It is most interesting to note the appearance of David 
Douglass during this season, he having been the successor 
of Lewis Hallam, the organizer of America's earlier theatri- 

DAVID DOUGLASS, born in London in 1730, first appeared pro- 
minently in theatricals in Philadelphia about 1756. He married the 
widow of Lewis Hallam in 1758, and was for many years an active 
manager in Philadelphia and New York. He is believed to have taken 
the first regular company to Albany in 1769, but I have not been able 
to find any record of his having come to Canada prior to 1810. Mrs- 
Douglass died in 1773. She was one of the first actresses who crossed 
the Atlantic, and was possessed of great dramatic talent. A monu- 
ment should have long since been erected to her memory by her pro- 
fession. Douglass died in Jamaica shortly after his retirement from 
the stage in 1812. 

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JOSEPH HARPER appeared in New York with his first wife as 
members of the first company that acted after the Revolution, 25th 
November, 1785. He enjoyed the distinction of being the original 
Falstaft in America (John Street Theatre, 5th Oct., 1788), in which 
part he was favorably compared to John Henderson and James yum. 
His labors were devoted entirely to the Eastern theatres, and at var- 
ious times he managed the affairs of the Boston and Rhode Island 
houses. He was undoubtedly a talented actor, playing in a wide 
range of parts, and was highly esteemed as not more indefatigable in 
the discharge of the duties of his profession than meritorious in per- 
forming the obligations cf social and domestic life. He was born in 
Jamaica, W.l. His first wife (Miss Smith) came from England. 
She was an admirable actress, performing the routine of old ladies 
very acceptably. She died in New York, 3rd October, 1791- 

Joseph Harper ended his long career in New York in 1835. 

John Mills and a party of actors from Montreal took 


from Mr. Usher in the Fall of 1810, and did well with it. 
Durang, who was a member of the company, records that 
on the opening night Mills acted scenes from "Macbeth/* 
although the company did not possess means beyond the 
compass of a farce. In the dagger scene he used two white- 
handled dinner knives borrowed from Mrs. Armstrong, a 
good-natured, little, fat lady who kept the tavern under th-3 
theatre. The kilt was borrowed from an officer and fellow- 
lodger. Taken as a whole, the play, as presented on this 
occasion, was a direful affair. It had not the redeeming 
merit of being ludicrous or funny, unless the amusement was 
furnished by a very tall Scotchman with a huge aquiline nose 
and a bald head, the very personification of a bald eagle top- 
ping a human skeleton. He was six feet four inches high, 
and delivered the words of the " gracious Duncan " in a vile 
Scotch jargon. This autre representative of majesty was a 
professional by courtesy, and named Sobey. He was a man 
cf extensive information. In the farce that was played on 
the same evening, Mills acted Dr. Lenitive. The Governor- 
General and his pretty young wife were there. All the mar- 
ried officers and their wives were present, besides the fashion 
of Quebec. A collection of refinement that had been used 
to the most superb theatres of Europe were thus assembled 
in a large upper storey of a building which was in a state of 
dilapidaton. It was fixed up with tiers of boxes, but the 

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auditors could shake hands across the area. The ladies in 
their brilliants and beauty, and the splendid scarlet uniforms 
of the officers, with silver and gold trimmings, made an array 
of magnificence not often witnessed in larger and more pre- 
tentious modern theatres. This brilliant audience, although 
they seemed to enjoy the performance with becoming grace 
and good humour, gradually withdrew after a Highland fling 
had been danced, and missed a treat by not waiting. Several 
not accompanied by ladies remained to enjoy the laugh. In 
the course of the farce there is a duet between Dr. Lenitive 
and Label, wherein runs between the lines little symphonies 
to be executed by the orchestra. There was no music there, 
but Mills iesolved to sing the duet, although Label as pertin- 
aciously refused, but was obliged to yield. During the 
verses Mills and his companion fal la htd the orchestra part, 
which was too much for one of the officers, who rose in his 
box and said, " Come, that's too ridiculous. We stood your 
Macbeth — a wench as Lady Macbeth, and the rest ; but I'll be 
damned if we stand your singing the symphonies of your 
songs/' Mills, who was witty himself, and often the cause of 
wit in others, replied to the officer and audience in a very 
good-humored manner, having the tact to do this very clever- 
ly. He worked upon their risibles, and concluded by saying 
to the officer, " No doubt you have acted yourself in your 
time for your amusement, sir, and have been put to your 
shifts." This set all in a roar of laughter, for this officer, it 
seems, had been a principal actor in their amateur club, and 
had perpetrated the very same expedients that he now 
stopped Mills for. The performance, however, ended mer- 
rily, and the band of the 8th Regiment played " Rule 

JOHN MIIXS (by Charles Durang). He was one of my old 
friends and was a brother to Mrs. Woodham, whom he strongly re- 
sembled. Both were handsome and talented. Mrs. Cunnningham, 
of the Philadelphia Theatre, was his mother. The family had been 
brought out from England by the elder Warren. Mills was early at 
the Chestnut Street Theatre, Philadelphia, and afterwards doing lead- 
ing business at Boston, possessing great versatility of talent, and if not 
great, was at least respectable in all. His disposition, however, was 
too convivial, although his liveliness and spirit of anecdote gave him 
an entree everywhere. In 1809 he went to Canada, where we met him 
in a theatrical corps at Montreal, under the management of Mr. All- 
port. During the severity of the winter the theatre was closed, and 

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Mills, with his family, moved into the theatre, making the green room 
his parlor and the adjacent dressing-rooms his chambers. Early in 
1809 (Mr- Durang means 181 1) he was taken seriously ill with the 
yellow jaundice, and, growing worse, died. On the night after he died 
a severe snowstorm came on, and such was the extent of the storm 
that on the following morning we could not open the door of the 
theatre, and it was noon before we were relieved by the snow clearers. 
We had nothing to eat or drink all this time. The death of poor Mills 
under these appalling circumstances was a melancholy reflection. 
But few friends any of us had. Montreal was not large then. Stone 
houses, tin roofs, iron doors and window shutters gave it the appear- 
ance of huge prisons, and the narrow streets, blocked with snow, were 
dreary avenues leading to the doors of the various cells. A few Can- 
adian habitants roving through the streets with their grey capots, leg- 
ings and tuques, were all the persons you would meet with, excepting 
an occasional group of soldiers and a guard. However, when it was 
known that poor Mills was no more by the English merchants and 
officers of the army, we were cheered by the general sympathies which 
were elicited on the occasion. A Boston merchant, Mr. Holmes, who 
had a branch at Montreal, came forward in the most handsome man- 
ner and offered his services and purse and wrote a beautiful obituary 
eulogy on Mills. On the day of the funeral Col. Proctor, command- 
er of the 41st, signified his intention of attending. The body was 
placed in a mahogany coffin, and deposited on sleigh runners, drawn 
by one horse, followed by some half dozen actors and a dozen gentle- 
men of the city to the place of burial in the Quebec suburbs. As we 
passed the Champ de Mars, Col- Proctor and his officers joined the 
cortege on foot. As we left the old French fortified walls, then in a 
state of dilapidation, the cathedral of Notre Dame, with its snow-cov- 
ered towers in the distance, the tops of the houses just seen above the 
walls, Montreal looked a town buried in the snow by some tremen- 
dous avalanche. The distant bugle and drum which were heard at the 
barracks, with the military array following the hearse, added to the 
impressiveness of the occasion. An Episcopal minister (Dr. Mount- 
ain) performed the ceremonies at the giave. Poor Jack, once the 
pride of the stage, the delight of the ladies and the admiration of 
men, now lies without one mark to point to his last resting place. 
Thou wert — «. 

" A safe companion and ar easy friend, 
Unblamed through life, lamented in thy end." 
Mills was related to Mrs. Ternan, who subsequently appeared here, 
but by marriage only, Mrs. Mills being her aunt. He published some 
poetry in which he lauded the precocious talent of Fanny Jarman, 
later Ternan. 

Mr. Durang lias given us a very interesting reminiscence, 
and has left little for me to add. Mills came to America in 
1806, making his first appearance in Baltimore as Bob Tyke, 

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4th October of that y^ear. He first appeared in Philadelphia 
3rd December in the same part. He was a good comedian, 
and well known in Boston, Philadelphia and New York. 
Mrs. Eliza Mills was a fair walking lady who possessed an 
excellent voice. 

JOHN JOHNSON, a man of most exemplary character, and an 
actor of long provincial experience in England, where he was born 
in 1759, made his American appearance in Boston in 1795, His wife, 
who came with him, first appeared that year in Baltimore. Johnson 
visited England in 1798 (returning four years later), and again in 1806. 
He was a favorite Sir Peter Teazle, and Mrs. Johnson equally admired 
in the vis-a-vis role. Johnson died in New York, 25th Oct., 1819. 
Mrs- Johnson, who was many years his junior, is regarded to have 
been a very tall, beautiful and graceful actress. She died at White- 
stone, L.I., 16th June. 1830. 

John Johnson, in 181 i, 

succeeded the late Mr. Mills as lessee of the theatre. He was 
given a benefit, 6th May, and the programme indicates the 
members of the season's company. The performance was 
Morton's comedy, "A Cure for Heartache," just written, and 
this was its original production in Montreal. 

Cast : Old Rapid, Mr. Robertson ; Young Rapid, Mr. John- 
son ; Vortex, Mr. Young ; Sir Herbert Stanley, Mr. Coles ; 
Charles Stanley, Mr. Horton ; Bronze, Mr. C. Durang ; Heart- 
ly, Mr. Anderson ; Farmer Oatland, Mr. Allport ; Waiter, Mr. 
Harley ; Frank Oatland, Mr. Thompson ; Miss Vortex, Mrs. 
Young ; Ellen Vortex, Mrs. Allport ; Jessie Oatland, Mrs. 

Mr. Young was given a benefit May 13th. 

The threatening aspect of the reations between England 
and the United States at this time caused an extreme com- 
mercial depression, which greatly affected the profits of the 

MR. ANDERSON, who had appeared here as early as 1809, and 
as late as 1818, died in Albany, 30th April, 1823. 

THE WAR OF l8l2 

seems to have interfered with Montreal's regular theatricals, 
representations being very few and scarcely noteworthy. But 
Ceyatano's Circus did good business during the early winter 

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months, closing at the end of April. On ioth February a 
benefit performance was given for the poor of Montreal, the 
total receipts being £93, less £14 expenses, leaving £79 8s 9d. 
Of this two-thirds was given to the Roman Catholic priest, 
one-sixth to Rev. Dr. Mountain (Episcopal), and one-sixth 
to Rev. Dr. Somerville (Presbyterian, St. Gabriel church). 

This incident is worthy of special note', inasmuch as It re- 
cords so early in the history of the city the mark of. good- 
fellowship which should more closely exist between church 
and player, bound by the ties of humanity, which is greater 
than all the creeds, greater than all the books. The admir- 
able spirit shown by the poor circus performers, all of whom 
lost their lives within a few months, invites for repetition the 
incident of the courtesy of the Recollet Fathers, as recorded 
by Rev. Dr. Campbell, when, in 1791, they placed their chapel 
at the disposal of the Presbyterian congregation, refusing any 
remuneration, although finally induced to accept a present of 
two hogsheads of Spanish wine and a box of candles as a 
slight acknowledgment of their courtesy. 

CEYATANO & CO. were Spanish managers who arrived in this 
country in 1810, and exhibited extensively in specially erected board 
pavilions. In 1812 the entire outfit, including the company, was lost 
at sea, on their passage from New Orleans to Havana. This was 
probably the first regular touring circus in America. 

CHARLES DURANG was a clever writer, as well as actor, and has 
left a valuable record of the Philadelphia stage. He not only ap- 
peared in Montreal, but his father, John, was also seen here in 1798. 
Charles was born in Philadelphia in 1795, and first appeared on the 
stage 1803. He married an actress named Mary White. He died 
in 1870. 

THE YEAR 1813 

was devoid of theatrical interest, the only entertainment of 
importance having been given by amateurs, 25th March. It 
consisted of Cumberland's, comedy,." 'the Natural Son," with 
the farce of "The Review."", The proceeds were for the bene- 
fit of the "widows and orphans of bur fellow subjects who 
fell in the late battle in Upper Canada." 

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The few playeis who chanced to come to Montreal during 
the next five years found it almost impossible to attract the 
citizens, owing to the wretched condition of the play-house, 
which had not been originally erected for theatrical purposes, 
and, as there was little disposition manifested to improve 
this condition of affairs, Montreal was for five years prac- 
tically without a theatre. A few itinerant players of little pro- 
minence gave occasional representations. 

In time, however, the public began to cry out for a new 
temple of Thespis. Accordingly, in 1817, the erection of a 
new play-house was begun. It was situated at 2 College street, 
in a block of stone buildings bounded by St. Henry street 
and Longueuil lane. It was known as the Mansion House 
block, and built by William Johnson Holt. The central por- 
tion was called the Mansion House. The tlreatre, which was 
itself a wooden structure, extended back of the main building 
about sixty feet, and, small as it was, was amply roomy in 
those days for the English population of 8,000, Laving a seat- 
ing capacity of 700 or 800. The entrance to the Mansion 
House and theatre was through a large arched doorway. This 
play-house was formally opened as 


on 1 6th February, 1818, under the management of John D. 
Turnbull. The season was a memorable one, introducing 
to Montreal the tragedian, Frederick Brown, destined to be- 
come a favorite actor-manager here. The company was a 
strong one, including Messrs. Baker, H. A. Williams, Ken- 
nedy, Dojge, Turnbull, Anderson, Huntley, McCleary, Thorn- 
ton, Richards, Wells and Mcsdames Williams, Kennedy, 
Shottwvll, Dorion and Misses Denny and Grant. Admit- 
tance to the boxes was five shillings, and pit two and six. 
The doors opened at six and the curtain rose at seven. The 
opening bill was LiUos* "George Barnwell.*' It was on this 
occasion that Mrs. Dorion first appeared here in the role o! 
Maria. A series of standard plays was produced, the second 
being ''Venice Preserved," in which Mr. Baber was a debu- 
tant. This tragedy was cast as follows : Jafficr, Mr. Baker ; 
Pierre, Mr. Richards ; Bclvidcra, Mrs. H. A. Williams ; Duke 
cf Venice, John I). Turnbull; Priuli, Mr. Kennedy; Rcnairtt, 
Mr. Doige; Spinosa, Mr. Anderson. 

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Mrs. Williams, who was as good in tragedy as in comedy, 
subsequently played Mrs. Halter in Kotzebue's " Stranger" 
to the zis-a-vis role assumed by Baker. 

On Faster Monday, 28th March, Coleman's 4< Mountain- 
eers/' with two after-pieces, was presented. Mrs. Williams 
took a benefit on the 30th, in Dimond's 4 * The Foundling of 
the rortst,' and farce, ''The Budget of Blunders/' Fasr- 
quhar's " Beaux' s Stratagem " was given for a benefit to 
Doige, 13th April. It was on this occasion that Fired Brown 
made his debut in Montreal in the following cast : AimweU, 
Frederick Brown ; Archer, Mr. Baker ; Sullen, Mr. Thornton; 
Sir Charles; Mr. Richards ; bogard, Mr. Anderson ; Gibbett, 
Mr. Huntley ; Hornblow, Mr. Doige ; Bagshot, Mr. Wells ; 
Boniface, Air. McCleary ; Scrub, Mr. H. A. Williams ; Lady 
Bountiful, Mrs. Thornton ; Dorinda, Mrs. Baker ; Mrs. Sullen, 
Mrs. Williams; Ginsey, Miss Grant; Cherry, Miss Denny; 
with the after-piece of 'The Blind Boy." Among other pro- 
ductions was '* Romeo and Juliet," nth May, with Baker as 
Romeo; McCleary played Mercutio ; Thornton the Apothecary; 
Miss Denny, Juliet, and Mrs. Williams the nurse, in a benefit 
performance to Mr. and Mrs. Thornton. " The Man of For- 
titude'' was the after-piece. 

The old favorite, John Bernard, appeared for three nights, 
opening 25th May, as Allapod in "The Poor Gentleman," and 
as Michael in the after-piece, "The Adopted Child." Another 
comedy, " The Kings Birthday," was produced 4th June. 

Several members of the old company left about this time, 
but were replaced by Messrs. Sierson, Morrison, Mrs. Mc- 
Donald and Mrs. Green. Bernard took a benefit 9th June 
in "A School of Reform," and again 30th in "The Clandes- 
tine Marriage." Mrs. Green had a benefit 7th July, in "A 
Cure for Heartache." Mr. Green made his first appearance 
at this performance, singing " Robin Adair," and John Ber- 
nard was the Oatland. "Bluebeard" was produced 15th July 
for Mrs. Bernard's benefit, and on the 30th John Bernard re- 
cited at a benefit concert to Prof. Smith. The theatre was 
then closed until 21st October. It had been repainted, etc., 
and presented a neat appearance. The opening bill was 
Tobin's " Honeymoon." Lewis' tragedy of " Adelgitha " 
was given 16th November with the following people in the 
cast : Messrs. Carpenter, McCleary, Morrison, Richards, 
Brown, Sinclair and McMillen, Misses Denny and Moore, 

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Mrs. Cunningham and Dellawater. Baker made his re- 
appearance 30th November in "Hamlet" and 7th December 
in " Pizarro." Most of the members of the company then 
dispersed, their places being filled for the remaining few pro- 
ductions of the season by " gentlemen amateurs." " Lovers' 
Vows " was given 14th December in aid of the Female Bene- 
volent Society, and a benefit to Carpenter, the acting man- 
ager, in Sheridan's "School for Scandal," and "The Falls of 
Clyde," on 21st December, brought a rather successful sea- 
son to a close. 

JOHN D. TURNBULL was born in England, and made his Amer- 
ican debut at Boston in 1759. He was first seen in Montreal under 
the Allport management as early as 1809, and just nine years later as- 
sumed the lesseeship of the new Montreal theatre. He was the au- 
thor of "The Wood Demon." His daughter, Julia A., and a son 
were also histrionical. The former died in New York, nth Sept., 

FRANCES ANNE DENNY-DRAKE was born at Schenectady, 
N.Y., 6th November, 1797. Her parents moved to Albany when she 
was quite young. Ludlow is my authority in stating that her first 
appearance on the stage was at Cherry Valley as Julia in " The Mid- 
night Hour/'in the Spring of 1815. In 1818-19 we find her in Mont- 
real as noted, and in 1820 she appeared at the Park Theatre, New 
York. She married Alexander Drake, a son of the old Southern 
manager, in 1823. During the season of 1829 she was playing in oppo- 
sition to Fanny Kemble at New Orleans. After the death of her hus- 
band, in 1830, she became Mrs- G. W. Cutter, but they soon separated 
and she continued to act as Mrs. Drake. She died on her son's farm 
near Louisville, Ky., 1st Sept., 1875. Her career was a successful one 
artistically, ?he being considered one of the best actresses in the legi- 
timate walks. 

MR. and MRS. H. A. WILLIAMS were the parents of " la petite 
Augusta." After Mr. WiOiams' death Mrs. Williams, in 1828, be- 
came the wife of R. C. Maywood. 

W. H. DYKES, IN 1819, 

leased the theatre, and opened 14th January with "Othello," 
Frederick Brown playing the title role. He was accom- 
panied by his wife, also an actress of nuerit. He played a 
round of characters, Otlvcllo thrice, Hamlet, Shylock, Macbeth, 
Sir Gil?s Overreach, Ociavius, Mortimer, Rolla, Glenroy, 
Coriolanus and Richard III. A benefit was tendered Mrs. 
Brown, 8th February, in " The Suspicious Husband," and on 
15th Manager Dykes took a benefit in "Jane Shore/' Baker, 

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who had been ill for some time, recovered in time to take a 
benefit, 17th, when he played Iago to Brown's Othello. Brown 
reappeared on faster xvionday, 29th March, lending his ser- 
vices for the benefit of the company in Holcroft's " Road to 
Ruin." Some littte difficulty arose in connection with this 
performance, owing to Miss Denny refusing to appear. She 
was the favorite actress, and had asked for a benefit, but the 
company would not agree to it, and her absence displeased 
the public. Miss Denny gave a concert in the parlors of the 
Mansion House, 5U1 April. Frederick Brown closed his sea- 
son with " The Gamester," 9th April. The audience was 
very enthusiastic and the house crowded. Brown recited 
" Alexander's Feast," and made a speech. Mr. and Mrs. 
Dykes took a benefit, 4th May, in "Speed the Plough," and 
a similar testimonial was accorded Baker, 7th May. Miss 
Denny, who had become reconciled to the company, took a 
benefit, nth May, in "The Honeymoon." Anderson bene- 
fited 14th May, and the season closed with a benefit to Rich- 
ards and Sinclair in "The Broken Sword." There is also 
a record of Mrs. French having given a concert in the Assem- 
bly Rooms of the Mansion House, 22nd July. After con- 
cluding his Montreal engagement, Brown appeared in Bos- 
ton, where he had made a very favorable impression in 1816. 
Being called upon to play in support of Cooper and Wallack, 
he went through his parts with such indifference that he was 
rebuked by press and public. The former accused Brown of 
using expressions disrespectful to a Boston audience, and, 
early in December, the managers, fearing a riot, allowed 
Brown to depart for Montreal, where he inaugurated a short 
winter season, 20th December, during which were produced 
Rev. Maturing *' Bertram," " Brutus," " George Barnwell/' 
' Othello," "Manuel," etc.; but the illness of the star brought 
fie season to a speedy close. Mr. and Mrs. George Bartley. 
English actors, gave an entertainment at the Mansion House, 
15th November, 1819. They had been in America one year, 
and had come to Montreal in the company of Mr. Brown, 
from Boston, where their abilities had not been fully recog- 
nized by the miscellaneous audience. 

MR. and MRS. BARTLEY enjoyed high esteem in England. He 
had played Richard, Shylock and other leading roles in H-acr^y anr1 
comedy. He married Miss Smith in 1814- Her talents were equal 
to his, and their public readings were much appreciated, Mr. Bart- 

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ley retired from the stage as late as 1853. He had several times given 
readings before Queen Victoria. Mrs. Bartley died 14th Jan., 1850, 
aged 64. George Bartley followed 22nd July, 1858, in his seventy- 
fourth year. 

W. H. DYKES, an eccentric actor-mar«ager, was too much of a 
rolling-stone to trace. He was here, there and everywhere, and had 
been of the Boston company prior to his advent in Montreal. While 
there he married Miss Brailsford. 


was a short and unimportant one, opening 24th January with 
"The Honeymoon/' under the patronage of Lieut.-Col. Burer, 
of the 37th Regiment. Miss Denny, assisted by officers of 
the regiment, took part, with the permission of the theatre's 
manager, Mr. Turnbull. Brown reappeared, 7th February, 
in " King Lear," and after giving three performances, the 
season practically closed. During the year some amateur 
performances were given, and some magicians and musicians 
gave entertainments at the Mansion House assembly rooms. 
From this time the annuals of this theatre practically ceased. 
In 1831 we find the Congregationalists using the hall as a 
place of worship. The main building became known as tho 
Eagle Hotel, kept by Francis Duclos. The hotel gradually 
sank into a low lodging-house, known as "Noah's Ark," and 
during the smallpox epidemic of 1885 ^ was f° ur| d to be a 
veritable pest-hole, with its one hundred and ten human in- 
mates. The place was cleared out by the police, and has 
since been used for manufacturing purposes. All that re- 
mains of the old theatre is the arched front entrance on 
College street (now part of St. Paul street). 


stood on Notre Dame street, opposite the Recollet Barracks. 
It was opened 21st January, 1821, with Kenny's farce, 
"Raising the Wind." C. W. Bianchard, of circus fame, was the 
manager. The following was the cast: Plainway, Mr. C. W. 
Bianchard ; Diddler, Mr. Hiven ; Fainwould, Mr. Greene ; 
Sam, Mr. Woodruff ; Richard, Mr. G. Bianchard ; Peggy\ 
Mrs. Greene ; Miss Durable, Mrs. Thornton. Two after- 

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pieces, " Day After the Wedding " and " The Village Law- 
yer," were also in the evening's bill. 

This company met with very fair business during the sea- 
son, owing to extensive repairs going on at the Mansion 
House and Theatre. This new house had a career of three 


or Roy's assembly rooms, stood on Jacques Cartier square, 
and was used for theatrical purposes as early as 1822. 

Late in the summer a small company attempted to support 
the young " American Roscius," George Frederick Smith, a 
youthful prodigy eleven years of age. He was seen as 
Norval, Octavian, Richard and Romeo, when he departed for 

GEORGE FREDERICK SMITH had been well drilled in his 
characterizations, and elicited a fair amount of praise. He was born 
in Cork, Ireland, 29th Dec, 181 1. He appeared in New York in 1821. 
After a short career on the stage he settled in New Orleans as a den- 

This theatre was the scene of little interest, until late in the 
spring of 1824. Most of the members of the company had 
already been seen here. The feature of the season was the 
production cf Kenny's comedy, " Ellen Rosenberg/' for the 
benefit of Mr. Wilkins, 20th May. The cast shows the per- 
sonnel of the troupe : Rosenberg, Mr. Emanuel Judah ; Col. 
Mountfort, Mr. Charles Webb ; Elector, Mr. Modely ; Flutter* 
man, Mr. Wilkins ; Storm, Mr. J. D. Turnbull ; Stephen, Mr. 
J. Turnbull ; Ellen Rosenberg, Miss Smith ; Christine, Mrs. 
Dorion ; Mrs. Flutterman, Miss Johnson. "The Review" was 
the after-piece. A ventriloquist, Taylor, also performed. The 
performance began at 7.30. "Ellen Rosenberg became a 
favorite piece in Montreal, and was subsequently produced 
at the Royal Circus. This place of amusement was short- 

On 17th January, 1823, tenders were asked for masonic 
and carpentering work for the proposed new theatre on St. 
Paul street, by order of the committee and George Auldjo. 

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On 24th March, 1824, West and Bianchard opened thetii 
circus on Craig Street, in rear of the present site of the St. 
Lawrence Hall. The principals of the troupe consisted of 
Messrs McDonald, Turner, Miss Elizabeth Bianchard, Mrs. 
Bianchard, as well as West and Bianchard. Meeting with 
good patronage, they erected a stage in the spring, and began 
giving dramatic performances as well, producing " Timour, 
ihe Tartar," " Inkle and Yarico," "The Forty Thieves," 
" Maid of Magpie," " Lodiska," together with other eques- 
trian dramas. 

The season closed 8th October with a benefit to Mr. Bian- 

EMANUEjL JTJDAH was born in New York and was connected 
with the Southern theatres during the early part of his career. He 
first appeared in New York as Bulihasin Mulcy in "The Mountaineers." 
at the Pavilion Theatre, 18th August, 1823. In 18.24 and 1825 he 
played in Montreal. He was well known at the minor theatres of 
Ne\y York. In 1829 he was at Albany under Vernon's management. 
His last metropolitan engagement was at the Franklin Theatre in 1837. 
Two years later he was drowned in the Gulf of Mexico. His wife, 
Sophia, a well-known actress, died in New York in 1865. She was 
the grandmother of the famous Worrell sisters. 

CHARLES WEBB, a native of Philadelphia, never attained to pro- 
minence. After a career of many Vicissitudes he jumped from a 
bridge in Wheeling, Va., in March, 1851. 

The year 1825 saw the opening of Montreal's sixth theatre, 
the first 


which was built on the site now forming the western end of 
Bonsecours market on St. Paul street. It cost $30,000, the 
amount being partly raised by subscription, and the Hon, 
John Molson was the principal shareholder. Mr. Forbes was 
the architect. The building wa§ ^ commodious one for the 
period, and presented an attractive interior as well as ex- 
terior. It was two stories high, with a Doric portico. In- 
side it had two tiers of boxes, the pit and a gallery. It was 

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opened under the management of the old favorite, Frederick 
Brown, the tragedian, and T. S. Brown (no relation) in his 
** Memoirs " chronicles tine fact that the company, which 
numbered seventy-one people, broke down at the end of the 
season from its own weight. It is more reasonable, however, 
to consider this figure somewhat fabulous. The opening of 
the theatre was on Monday, 21st November, with Reynolds' 
comedy, " The Dramatist/' The principal actors during the 
season were Mr. and Mrs. F. Brown, Watkinson,.Laws, Lear, 
Morton, Brewster, Judah, Horton, Essender, Herbert, Clark, 
Heyl, Talbot, Master Talbot, Harris, Logan, Mr. and Mrs. 
Forbes, Mrs. Meline, Miss Eliza Riddle, Mrs. Brazier, Mrs, 
Talbot, Mrs. Wm. Riddle, Mrs. Brundage and Miss Turner. 

Following the opening piece were produced successively the 
following throughout the balance of the season : " Speed the' 
Plough," "The Wonder, or a Woman Keeps a Secret/' "Town 
and Country," " Richard III.," " The Stranger," " Douglas," 
with Miss Riddle as Young Norval ; "Hamlet," 'The Way to 
Get Married," for Miss Riddle's benefit and farewell appear- 
ance, 7th December, concluding with "The Pages; or "Fred- 
erick the Great/' " Merchant of Venice/' "Adelgitha." Miss 
Riddle was re-engaged 14th December, appearing as Vir- 
ginia to Brown's Virginius, this being the original representa- 
tion of Knowles' sublime tragedy in Montreal. On 19th 
was produced "Coriolanus." followed by Tobin's "Honey- ' 
moon/' "The Wandering Boys," "Heir-at-law," "King Lear," 
28th; and on 30th, for Miss Riddle's benefit and last appear- 
ance, " The Road to Ruin," closing the season. 


FREDERICK and SOPHIA BROWN. Mr. B?own was born in 
England, and was there rocked and nurtured in the cradle of Thespis. 
His father was D. L. Brown. At a very early age he was known as 
the Liverpool Roscius, and gave remarkably precocious signs of ex- 
traordinary excellence. The prophesies then made were never fully 
realized; yet he obtained a most respectable rank in all the walks to 
which he aspired, and it was only his own weakness that caused his 
vaulting ambition to " o'erleap itself," and left him as the waif of the 
common. He stood well in England, and married Sophia DeCamp, 
a sister to Vincent, and to Mrs. Charles Kemble. Mrs. Brown was a 
fine actress and an accomplished woman, but, to use a common word, 
a homely one. At first glance one would conceive her to be very ugly; 
yet so fascinating was her brilliant conversation that a few minutes in 
her presence would transform her face into one of great beauty of 
expression, reflecting pleasing intelligence- Frederick Brown was 

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equally imbued with all these faculties, and in person (although small 
in stature) was affable and gentlemanly. They were engaged i n Eng- 
land by Mr. Dickson, the Boston manager, for the Federal Street 
Theatre, and made their appearance there about 1816. After estab- 
lishing the Theatre Royal, at Montreal, the house for a time paid, but 
eventually the manager fell into bankruptcy. He conducted things 
royally, in accordance with the supremacy of the name of his house, 
but he was extravagantly inclined and neglected the balance sheet 
of his accounts. He played tragedy or comedy as required. His 
Don Felix in " The Wonder " was excellent, and in parts of that na- 
ture he was neatness and elegance combined. He had much chaste 
vivacity and clear judgment, never ''o'erstepping the modesty of na- 
ture." , His tragedy performances may be estimated by the same rule. 
They were chaste and discriminating to a fault. Although of slight 
physical powers, he was not without force and tragic expression of 
intensity, possessing a face of no marked constructivencss. but rather 
common in form; yet it was not without its passionate or various re- 
flection of inward feeling, though genius was not present — that power- 
ful lever of the great in art. Brown was conventional in all he did; 
thoroughly bred in the Kemble school, he never transcended its doc- 
trines. . But though his colouring was of the drawing-room tint, he 
would not use the dagger with the complacency of Joseph Surface 
when, handing a chair to Lady Teazle: the emotional would harmonize 
with the action of the terrible. Without annoying rant, his forte, like 
a soft impressive picture, lay in the chiaro oscuro. In May, 1821, Kean 
was engaged to act at the Boston Theatre- On one occasion, when 
billed for Richard, the great actor would not go on, the house being 
too slim, he said. Brown was sent for and gave great satisfaction. 
He was stage manager for Gilbert at Charleston, S-C, 1824, and went 
South again in 1830, accompanied by James E. Murdoch, who must 
have gained good instruction from the English actor. Brown was an 
excellent reader, and combined with large literary acquirements, the 
government of a refined, cultivated mind. 

In the summer of 1834, Brown was associated at Wilmington. Del., 
with a corps of comedians somewhat genial in mind. Charles Durang, 
among others. Many pleasant walks were taken around the roman- 
tic environs of that beautiful place. Brown would often stroll into 
the old graveyard of the Swedes' Church, which stood on an elevated 
slope on the right bank of the picturesque winding Christiana creek. 
The church was then in a deplorable condition of dilapidation, 
less from age than from want of care. The cemetery was 
overrun with weeds, and grass. Here and there an old, rude-cut 
headstone would peep over the weeds, inscribed with the name of 
some one who had died during the reign of Charles, William, Mary or 
Anne, etc. Poor Brown became impressed with the scene, as the 
buried dead at his feet reminded him of his country's history- He be- 
lieved the fane worthy of some preservation, and in his contempla- 

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F. Brown and Miss Riddle in the original performance here of "Virginius." 

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tions penned a few affecting poetical lines descriptive of its hallowed 
ground and history, now being destroyed through neglect. The edit- 
or of the Wilmington paper published the verses, which had the effect 
of causirg the construction of an enclosure around the burying 
ground. Subsequently the ancient church was repaired, so that 
service was again heard within its once deserted walls. Thus a poor 
performer and his muse did some good to religion, in restoring a de- 
serted sacred edifice, wherein the country's earliest forefathers had 
worshipped, to prayer and religious history. 

Frederick Brown, from necessity, became a wanderer in the world, 
ending his life of sorrow in an obscure town in North Carolina in 
the year 1838. 

Mrs. Brown, during her later years, had a pupil by the name of Miss 
Meadows, whom she schooled in a series of characters. With this 
girl, who had merit, Mrs. Brown travelled through the South and 
West, realizing a little money by the effort. Mrs. Brown afterwards 
took an engagement to play the old dames of comedy, and died at 
Mobile, Alabama, in 1841. 

The foregoing sketch of Brown was written by Charles 
Durang, who, having been personally acquainted with the 
tragedian, is the best authority I have been able to find. On 
9th March, 1819, he appeared as Hamlet at New York. In 
1826 he supported Edmund Kean during the latter's engage- 
ment in Montreal, and was still lessee of the Theatre Royal, 
which he opened a year previously. 

MISS ELIZA L. RIDDLE was the daughter of the comedians, 
Mr. and Mrs. Wm- Riddle, and was born in 1809. Her first appear- 
ance was not a distinct success, but she made rapid headway, and be- 
came a leading lady of acknowledged ability. During the season 1831- 
32, she appeared in the original representation of Knowles' "Hunch- 
back '* in this country, assuming the rele of Julia at the Arch Street 
Theatre, Philadelphia. In 1836 she married Joseph M. Field. 

LEWIS HETL possessed a sweet voice, and as a singer gained 
considerable popularity. He was a native of Philadelphia, where the 
final call was made in 1839. 

During the year 


did a fair business under the management of George Blan- 
chard. On 13th October "The Romp" was produced, and on 

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the following night a benefit was given to Mr. Roper in "The 
Forty Thieves." The company at that time included Messrs. 
Roper, Schinotti, Gale, Simmonds, Martin, Johnson, C. 
Bianchard, G. Blanchard, Lawson and Brazier, Mrss. Tal- 
bot, Carnes, Brundage, Honey, Parker and Brazier. "The 
Cobbler's Daughter " and <4 Sylvester Daggerwood " were 
presented 17th October. On this occasion Mr. Simmonds 
played Daggerwood, and introduced imitations of the popular 
actors of the day. On the following evening Mrs. Carnes 
benefited in " No Song, No Supper." Cast : Robin, Mr. 
Roper; Crop, Mr. Schinotti ; Endless, Mir. Simmonds ; Fred- 
erick, Mr. Martin ; William, Mr. Johnson ; Thomas, Mr. C. 
Blanchard ; Dorothy, Mrs. Talbot ; Margaretta, Mrs. Carnes ; 
Nelly, Mrs. Brundage ; Louisa, Mrs. Honey. This closed the 

MR. and MRS. JAMES ROPER. Mr. Roper was early in t«he 
equestrian business. His dramatic efforts were mostly important as 
prompter. Mrs. Roper (maiden name Cooke) was genteel and lady- 
like, but of no great pretensions to talent. She died of consumption 
at Philadelphia in 1835. 

MRS. TALBOT came to America with her first husband in 1820, 
but separated from him and married Chas. Page. She died in Phila- 
delphia in 1838. 

MARY ANNE BRUNDAGE first appeared in New York in 1815. 
ShL* married McDonald Clarke, from whom she eventually separated. 


was oire of the most memorable in Montreal's theatrical an- 
nals, and opened early in the year with F. Brown again at 
the head of affairs. Robert Campbell Maywood appeared in 
February in a round of legitimate characters, and became 
quite popular here. His engagement closed 20th February, 
when he took a benefit. 

Maywood's engagement in Montreal was followed by that 
of Thomas S. Hamblin, then in his twenty-sixth year. He 
m de his first appearance here in the character of Hamlet, 
22nd February, and plaved a return engagement, 28th March, 
in " William Tell." 

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THOMAS S. HAMBLIN (as Corholmu*). 

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THOS. SOWERBEY H AMBLIN was born near London, 14th 
May, 1800, and first appeared on the stage as Truman in " George 
Barnwell," at Dmry Lane Theatre in 1819. The illness of Alexander 
Rae brought Hamblin out in Hamlet two or three seasons later at the 
same theatre with considerable success for so young an actor. He 
married Elizabeth Blanchard in 1825, and in the early fall of that year 
came to America under the auspices of Price and Simpson, making his 
first appearance in his favorite character of Hamlet at the Park The- 
atre. After remaining in New York about a year, he and his wife 
began starring. He revisited England, and in 1830 leased the Bowery 
Theatre, New York, which he managed with but few intermissions 
until his death, 8th January, 1853. He died in New York and is bur- 
ied in Greenwood Cemetery. During his managerial career, he gave 
the total nightly receipts of his theatre over 160 times for the benefit 
of charities. As an actor he had forgotten more than most actors 
knew and still remembered enough to teach the best of them. To see 
him dressed for Brutus, Coriolanus or Virginius was a study for a 
pair.ter. A singular fatality seemed to pursue him through life, that 
was, the loss of his theatres by fire no fewer than four times, and by 
a strange coincidence there were four Mrs- Hamblin s in his history. 
At his death he left eight heirs, each of whom received $10,000. A 
daughter, Constance Hamblin, has been frequently seen here in sup- 
port of legitimate stars. 

R. C. MAYWOOD was born in Scotland in 1786. He first appear- 
ed on the American stage in 1819 at the Park Theatre, New York, as 
Richard JIL, and at Philadelphia, Oth Nov., 1828, at the Arch Street 
Theatre, as King Lear. In April, 1832, he became manager of the 
Walnut Street Theatre, Philadelphia, in conjunction with Pratt au(| 
Rowbotham. He subsequently managed the Chestnut Street Theatre* 
In 1840 he relinquished the management and took his farewell benefit. 
He died 1st Dec., 1856, at Troy, N.Y. 

Probably the greatest actor who ever visited Montreal ap- 
peared during the midsummer season. I refer to Edmund 

The following letter appeared in the Gazette of 21st Janu- 
ary, 1826 : 

To Edmund Kean, Esq: 

Sir, — It is not without considerable interest that your fellow sub- 
jects in this province have heard of your arrival in America. What- 
ever may be the motives that induced you to make so long a voyage, 
they hoped that the ocean would have buried all references to them 
forever, and that your reception on the American Atlantic shores 
would have been such as your professional talents ought always to 
command and secure. If your fellow subjects in Canada have been 
partially disappointed, they rejoice that such disappointment is coun- 
terbalanced by the exercise in two great and enlightened cities of 

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those feelings of humanity which are due to the stranger in every 
country, and ot those honors which genius will ever command among 
every polite and civilized people. The purport of this is to invite you 
on your powerful character to Canada, i can assure you that this 
invitation does not proceed from a solitary individual. It is the voice 
of both provinces, which, if obeyed, would hail you with a welcome 
that would resound from Niagara to Montmorency. In the city an 
elegant and convenient theatre has lately been built. The present 
manager, Mr. F. Brown, is a gentleman of professional anu private re- 
spectability, and 1 venture to assure you that your appearance on our 
boards would be at once gratifying to your feelings as a man and to 
your expectations as an actor, In proof of this 1 could present you 
with long extracts from all the newspapers published in this country, 
every one of which has borne out ample testimony to proper senti- 
ments of joy at your success and regret at your disappointment in the 
United States. I, in common with many other persons of respectabil- 
ity, who have witnessed the homage paid to your great talents by the 
sages, the philosophers and the poets of your mother country, at least 
hope that as soon as convenient you will enable a loyal and hospitable 
people, proud of their country, to do justice to those sentiments which 
they tntertain regarding you. Should your eye chance to meet this 
letter, some notice would greatly oblige many thousands besides, sir, 

Your obedient servant, 

Philo Euripides. 

It is too late in the century to learn whether is was the 
composition of the letter or the anticipation of a good busi- 
ness that finally induced the great actor to visit Montreal, 
which he accordingly did, making his debut 31st July, in his 
great character of Cluster in " Richard III." On 2nd August 
he played the role that first made him famous — Shylock ; and 
on the following night he electrified our grandfathers in 
Othello. On that occasion the following was the distribution 
of characters: Othello, Mr. Edmund Kean; Iago, Mr. Frederick 
Brown ; Cassio, Mr. Wm. Lee ; Rodrigo. Mr. Thos. Placide ; 
Dcsdcmona, Miss Riddle ; Emelia, Mrs. F. Brown. His fare- 
well appearance and benefit was in ''King Lear/' 9th August. 

A public dinner was tendered the distinguished artist, 
who was otherwise lionized and feted during his stay. 

One, T. S. Brown, in his memoirs, recites an incident of 
Kean's visit, for the truth of which I do not vouch, as he errs 
greatly in his data, etc., but here it is for what it is worth :' 

''When Edmund Kean came to this city in 1827, the theatre was 
closed, but t«he citizens were so anxious to see him, that a company 
was formed wi'h Mrs. Barnes CCarnes), and some circus preformers, 
who happened to be in the city at the time, and he gave four perform- 
ances. In the last one he was extremely drunk. He was playing the 
part of ' Daggcrferth ' (Daggcrwood) in a comedy, and during the 
performance had to stand on his head on a chair, The gallery liked 
this, and shouted ' Another tumble, Mr. Kean !* Kean thought they 

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said * Another tumbler, Mr. Kean !' and he got furious and rushed 
off the stage and out of the theatre. The gallery in its turn got angry, 
and started to smash things generally. Kean was hastily sent for, and 
\va> found in bed at the Masonic Hall (Hotel). He was dressed and 
brought back to the theatre where he made a graceful apology to the 
audience, winding it up, however, by saying : ' As for the man who 
told me to take another tumbler I despise him !' This was given in 
his deepest and most tragic tones, and fairly brought down the 

Edmund Kean had been in America since the previous 
November, making his appearance at the Park Theatre, New 
York, as Gloster, 14th November, 1825, Lut owing to an in- 
discretion on his part in a reference to America and its 
pvople, while on his first visit in 1820, he was confronted by a 
turbulent audience, which would not hear the apology the 
actor wished to make. This rioting also continued at Boston, 
but he was rather more favorably received at Philadelphia in 
January, 1826, after having again appeared in New York a 
few days previously to a more satisfactory welcome. 

Before departing for Quebec, Kean was entertained at a 
public dinner at the ^lasonic Hall Hotel, and in the course 
of a speech, made in reply to the drinking of his health, spoke 
of his departure from Eng'and in a manner that serves to 
throw frej-h light upon his many-sided character. 

"I was scarcely from the land," he said, "when reason told me I 
had lost a portion of my respectability as a man, and my chief re- 
sources depended on my exeruons as an actor. 1 assumed, therefore, 
a callous mdilerence, played for a time the character of misanthrope, 
knit my brows, and pretended contempt for the world, but it was 
merely acting. Deeply I felt the loss of that society J -had for years 
associated with, and every little act of kindness penetrated the brazen 
armor J had borrowed tor the occasion. The searching eye could 
even discern smiles without mirth, and pastime without pleasure." 

At Quebec his advent excited unusual interest. He had 
been announced to perform on Monday, 8th September, and 
exported to arrive on the previous Thursday. Not having 
appeared by Sunday, the disappointment of Quebecers great- 
ly increased the sensation. On Monday, however, news was 
brought that he was positively on the tug-boat Hercules, 
which was towing a vessel into the harbour, when a number 
of citizens went down to meet and give him a hearty wel- 
come ; and the manager, learning that he was able and will- 
ing to play that night, sent the public bellman about town 
to announce the fact. The theatre was crowded ; the Gover- 
nor, Lady Dalhousie and suite occupied boxes, and Kean 
was enthusiastically applauded. 

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During his engagement at Quebec an incident occurred 
which greatly delighted him. Becoming aware of the ex- 
citement his performances were creating, a number of Indians 
attended the theatre, when Kean, gratified by their visit, and 
pleased by their picturesque appearance, desired to become 
better acquainted with them. Introductions, therefore, fol- 
lowed. He was no less an object of wonder and admiration 
to them than they to him. 

He entertained them hospitably, recited, sang and played 
to them ; rode with and tumbled for them, and finally ex- 
pressed his desire to become one of their tribe, and leave the 
ways of the white man forever. The Indians made him a 
chief, and with much ceremony invested him with a costume 
such as they wore (something more than a pair of overalls 
and a blanket) and gave him the name of Alanienouidet. He 
then disappeared with them. Subsequently speaking of this 
period to his friend Grattan, he declared he had gone mad for 
several days, and having joined the Indians in their camp, 
he was pursued by some friends, who carried him back, and 
for a time treated as a lunatic before he was allowed to 
leave for New York. He always declared that he valued 
the honor the Hurons had conferred on him above the 
highest triumphs he had achieved at Drury Lane. 

He reappeared in New* York, 18th November, 1826, play- 
ing Richard, but in a few days the severe mental and physical 
strain he had endured culminated in a serious illness. His 
great powers had declined, and his friends believed that he 
had not long to live. He made his last appearance in America, 
5th December, 1826, in New York, in the part of Richard, 
reappearing in London as Shylock, 8th January, 1827. 

It was painfully evident he was a physical wreck; that the 
spirit which had kindled his audiences to fervor was often 
absent, while traces of suffering were but too visible. To 
commemorate his Teturn to Dublin, the management 0/ the 
theatre commissioned an artist named Meyer to paint a. full 
length portrait of Kean, representing him, at his own request, 
as an Indian chief; and when he took his benefit, 2nd April, 
it was announced he would not only play King Lear, but de- 
liver a farewell address- in the character and costume of 
Alanienouidet, chief of the Huron Indians, which name and 
title were conferred upon him by the Hurons at Quebec on 
7th October, 1826. • • 

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From the Gebbie collection. 

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EDMUND KEAN was one of the greatest actors the world has 
produced. Byron compared his acting to reading Shakespeare by 
flashes of lightning, and Mrs. Garrick recognized in him a worthy 
successor to her David, and the only one fit to wear his sword. Castle 
street, Leicester square, was the scene of the actor's birth, 4th Nov., 
1787. His reputed father was Aaron Kean, a stage carpenter, and his 
mother a strolling actress named Nancy Carey, grand-daughter of 
that Henry Carey, the dramatist, who wrote the charming lyric, '* Sal- 
ly in Our Alley." It was a tidy actress, named Miss Tidswcll, who 
seems to have picked young Kean from the gutter to make him the 
consummate flower of the British stage; she too was credited with 
being his mother, but it seems she was able to prove an alibi. She 
gave the poor little waif some schooling, and what was more to 
his profit, an introduction to the stage. 

He appeared very early as a representative of cupids, monkeys and 
devils, and on one occasion when an unfortunate step caused the down- 
fall of sundry fellow-devils he wittily excused himself to the angry 
manager by stating that he had never appeared in tragedy before. 

Then his mother, discovering that he had a gift, made use of it She 
spirited the child away to attract crowds, while she sold her pack or 
told fortunes. The boy carried the tramp's pack, and at farm-houses 
and among the gentry recited the lines Miss Tidswell had taught him. 
He thus happened to appear before an eminent physician, Dr- Young, 
father of the afterwards celebrated actor, Charles Young. The doctor 
introduced the lad to a lady who was passionately enamored of the 
stage — a Mrs. Clarke. This lady, having a grand company, invited the 
boy to entertain her guests. When the little ragged boy appeared in 
the grand dining-room the lady asked: "Are you the boy who recites 
so well?" The child bowed with great dignity. "What can you re- 
cite?" " Richard the III.;" "Speed the Plough;" " Hamlet;" " Har- 
lequin," answered the unabashed youngster. The lady took him to 
her dressing-room and made a composite costume for the little actor; 
presently he did, sure enough, declaim all the parts he had named. 
The guests rewarded his efforts by a shower of silver pieces, which 
the boy proudly declined to pick up. Mrs. Clarke was so struck by 
this trait that she at once set about educating the little genius. He 
was placed at school, and instructed in all the elementary studies of 
the day. This lasted two years, when one day, having visitors, Mrs. 
Clarke invited them to the theatre and the boy as well. "What !" 
cried the snob of the party; "does he sit in the box with you?" 
Kean's face flushed crimson; he quit the table, and that night disap- 
peared from his benefactor's home. 

Then he resumed the tramp life with Nancy Carey, alternating with 
sojourns under the wing of Miss Tidswell. On one occasion his act- 
ing in a country show at Windsor so impressed the King that he 
sent for the little man and made him a present of two guineas. Next 
the longing for the sea seized him, and he succeeded in shipping as 


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cabin boy for a voyage to Madeira. But the life of the ship was not 
what he had imagined, so«he returned to tramping as soon as the voy- 
age brought him back. Then followed vicissitudes such as a realist 
in romance would hardly venture to devise for a social outcast. He 
found himself afterwards in Belfast, Ireland, cast with the great Mrs- 
Siddons, who condescended to speak with tolerance of his acting, little 
suspecting that the poor wretch who was playing secondary parts 
was in a short time to seize the tragic sceptre from the hands of the 
great Kemble in his own theatre. 

Mrs. Siddons said that he played well, but that there was too little 
of him to make a great actor. He was, in person, five feet four inches 
in height. In 1808 he married Miss Mary Chambers, the leading lady 
of Beverley's company, of which he was also a member. She was nine 
years his senior. 

Sometimes the record is too harrowing to retrace, the man of gen- 
ius and the wretched wife trapsing over the country roads, living on 
charity or nothing at all. 

It was when fortune was at its lowest, when in utter destitution, the 
wretched couple had begged a theatre at Exeter, and when the cur- 
tain rang up there was but a sprinkling of people in the seats, that 
fortune was beaming with its broadest smiles. In spite of the depres- 
sing house. Kean gave loose to his genius, and played with divine fire, 
After the play, Kean, in his dressing room, heard some one inquiring 
about him, and then, after some explanatory phrases, heard the start- 
ling words; " I am the manager of Drury Lane." The manager of 
Drury Lane had discovered the divine gift in the overworked, unap- 
preciated actor, and that was the beginning of the greatest tragic 
career in the annals of the British stage. 

The fateful opening was set down for the 26th January, 1813, 
while the British were still inebriated over the miraculous conquest of 
Napoleon by the allies after the campaign in Germany. Everything 
seemed tc be dore to make the fateful appearance a failure; the poor 
man could get but one rehearsal, and then his fellow-actors sneered at 
his slender figure and his extraordinary innovations in the traditions 
of the part- For the first time in six months Kean had meat for his 
meal that day, and as he was quitting his wife he exclaimed: "My 
God, if I succeed I shall go mad !" 

He carried his entire costuming outfit in a small bundle in his hands 
and excited the derision of his fellow-actors by his miserable figure. 
The manager was desperate, for the theatre had been steadily losing 
money for months, and Kean was a last desperate resort. When he 
emerged from his dressing room in a black wig, instead of the tradi- 
tional red wig, the actors broke into a guffaw of derision. The night 
was hideously depressing, snow covered the ground and the house was 
very meagrely filled, until late in the evening, when the overflow from 
Covent Garden served to patch up the gaping emptiness. The "first 
night" audience took its time in judging the debutant; but his voice 

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E. KEAN (as Alan). 

In the dress presented to him on the occasion of his being chosen 
a chief of the Huron tribe of Indians, by the name of Alanienouidet, 
at Quebec, 7th October, 1826. 

Painted by Meyer, and engraved by Storm. Reproduced from an 
original proof in the possession of Franklin Graham. 

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won the approval of some of the old heads. He made Shylock more 
human and artistic than his predecessors, and by the third act Kean 
was a dazzling success. In the scene where he learns of Jessica's es- 
cape, the staid audience rose from their places and acclaimed an amaz- 
ing outburst of passion, such as had never been witnessed on the stage 
before. The trial scene was the most astonishing evidence of the 
power of one human being over many ever recorded in the annals of 
acting, even the actors flocked to the palpitating, fainting man and 
strove to make up for their past gibes. 

He fled like a madman through the slushy streets to his wife, who 
was faint with expectation and terror, and shouted : " Mary, the pit 
rose at me; I've won; you shall ride in your carriage." In a thousand 
contemporary memoirs you shall find the comments of all sorts and 
conditions of men over the wizardry of this extraordinary actor, who, 
springing from no one knew where, had in one night eclipsed the fame 
of the greatest who had ever illustrated Shakespeare. 

For eighteen years his income was over £10,000 yearly, but he died 
in debt. 

At Drury Lane, 24th Jan., 1825, his reception was most boisterous. 
It was some weeks before peace was restored. His first American 
tour was opened at the Chatham Theatre, New York, 29th Nov., 1820, 
re-opening at Drury Lane, 23rd July, 1821. 

Unfortunately, as is the usual case with genius, Kean became so de- 
pendent on the use of stimulants that the gradual deterioration of his 
.great gifts was inevitable. Still, even in their decay, his powers tri- 
umphed during the moments of his inspiration over the absolute 
wreck of his physical faculties, and compelled admiration when his 
gait had degenerated into a weak hobble— when the lightning brilli- 
ancy of his eyes had become dull and bloodshot, and the tones of his 
matclless voice were marred by rough and grating hoarseness. 

He made his last appearance at Covent Garden, 25th March, 1833, 
playing Othello to the lago of his son Charles. The senior became 
greatly affected after the speech in the third act : 

Farewell the tranquil mind I farewell content ! 

After a protracted pause at its termination, instead of the articulate 
vehemency usual with the words, Kean muttered indistinctly: 

" Villain — be sure — you — prove " 
then he groaned, and whispered, 'Oh, God ! I am dying ! Speak to 
them, Charles." His son caught him in his arms, and he was borne 
from the scene, Edmund Kean's career was cancelled 15th May, 1833, 
in his forty-sixth year ending his strange evenful history, so replete 
with heart-breaking vicissitudes. 

" After life's fitful fever he sleeps well" 

During the same season the Montreal company included 
Thomas Placide, who subsequently became a famous come- 
dian and manager on the United States side. 

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THOMAS PLACIDE was a boisterous performer who never rose 
to much distinction. He greatly resembled his brother Henry, but 
his work did not begin to compare with the latter's. Thomas was 
born at Charleston, S.C., in 1808. His stage career began early, and 
his regular debut was at the Chatham Street Theatre, New York, in 
1828. He was manager of the Park Theatre for several seasons, and 
in 1853 became a member of Wallack's company, retiring a few sea- 
sons later, and dying 20th July, 1877. He was the first man to wear 
paper collars in Montreal, not being in good credit standing with his 
laundry, and set a fashion followed out some years later. 

The next season was without importance in a theatrical 
sense, the circus and amateur performances being much in 

The chief dramatic recreation of the year appears to have 
been catered by the amateurs of the 71st Regiment, the fam- 
ous Highland Light Infantry, under patronage of Colonel 

THE YEAR 1828 

was marked by the appearance of Mr. and Mrs. Edward 
Knight, of Drury Lane Theatre. Mrs. Knight had recently 
changed her name from Miss Povey, and was a great favorite 
on the other side. They gave a concert at the theatre, 7th 
July, and subsequently organised other entertainments. 
Several other English comedians also appeared during a very 
short season, including Miss George, of the Haymarket 
Theatre, an interesting ballad singer, who later became Mrs. 
Oldmixon ; Mrs. Gill, of the Theatre Royal, Bath ; Mrs. Aus- 
tin, of Drury Lane Theatre ; and Mr. Horn. They gave 
entertainments 26th July and 5th August. 

MRS. EDWARD KNIGHT was born Mary Ann Povey, in Eng- 
land, 1804. Though not beautiful, she was a " plump and pleasing 
little person, light in complexion, round face and expressive blue 
eyes, with a rich and powerful voice." She was good in comic opera, 
and later in life assumed a wider range of characters, when she be- 
came attached to the Park Theatre. In 1845 she lost her only child, a 
beautiful girl of seventeen, and in May, 1849, returned to England, 
having become partially blind, induced by excessive weeping. She 
died in 1861. Mr. Knight was a musician, and died young. 


was more successful, and was opened earlv in the year by the 
"English," "Gentlemen Canadian" and "Garrison Amateurs." 

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The fact of three amateur clubs existing shows that consider- 
able interest was beginning to be given to the drama. 

The regular season of 1829 was opened up 3rd June, under 
the management of 


In his management of the theatre during the 1829 season, 
Mr. De Camp was surrounded by Mr. and Mrs. Armand Ves- 
tris, M>r. and Mrs. Knight, Mr. and Mrs. Achille, Clara Fisher, 
Mirs. Fred. Brown and Messrs. Fisher and George Holland. 
Mr. and Mrs. Vestris opened their engagement, which exten- 
ded from 3rd to 10th Juroe, in "A Hundred Pound Note," and 
during the performance the Achilles appeared in their cele- 
brated "shawl dance," the whole concluding with the farce 
of " Mons. Tonson." Mr. George Holland subsequently 
made his appearance in " The Lottery Ticket." 

The most important debut of the season was that of Clara 
Fisher, 20th July, in "The Belle's Stratagem," Miss Fisher 
as Letitia Hardy, and Mr. Ete Camp as Doricourt. 

Following Miss Fisher's first appearance came the come- 
dies, "She Would and She Would Not," "The Wonder," 
"The Invincibles," and "A Bold Stroke for a Husband/' The 
remainder of the season passed without interest. 

Mrs. Knight began an engagement of four nights, 7th Sep- 
tember, in " Guy Mannering," " Fontainebleau " and " Le 
Mariage de Figaro." De Camp's first season closed 26th, 
with a complimentary benefit to his sister-in-law, Mrs. F. 
Brown, when " The Rivals " was staged. On this occasion 
the garrison amateurs lent their assistance. 

VINCENT DE CAMP, of the Theatre Royal, Drury Lane, and 
Haymarket Theatre, London, was a brother-in-law to the great Chas. 
Kemble and to Frederick Brown, and was known as a veteran of the 
London stage, but in America he failed to make the impression he had 
anticipated. He was born in Vienna, Austria, in 1777, and went to 
England in early life with his father, who was a musician. He first 
appeared on the boards of Drury Lane Theatre in children parts, 
but when he reached manhood made his regular debut as Vapour in 
the farce of " My Grandmother." He was for some time subsequently 
considered a useful performer of fops, coxcomhs and gay footmen. His 
American debut was at the Park Theatre, New York, 24th Novem- 
ber, 1823, as Gossamer in " Laugh when You Can " and " The Three 
Singles.*' He had only recently given up the management of the 
Bowery Theatre, New York, when he came to Montreal to assume 
the management of the Theatre Royal. He last appeared in Mont- 

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real in 1834- His last appearance in New York, as an actor, was in 
182S. During 1837-38, he played at Mobile, Ala., under the manage- 
ment of Ludlow and Smith, and died in Texas, 27th July, 1839. Dur- 
ing one part of his life he had been a great London favorite, lived in 
handsome style, kept his carriage, moved in good society and lived in 
every way like a gentleman. He played the violin, and sang and 
danced well. As he advanced in years, however, he displayed amusing 
peculiarities, one of which was to deal in milk. At Mobile he was 
known to rise early, deliver his milk in time to attend rehearsals, and 
after the performance hurry away to do his milking for the next day's 
delivery. At the time of his death he was prospecting in Texas with 
an idea of coming across an ideal El Dorado. 

CLARA FISHER MAEDER was called the female Charles 
Mathews of her day. She was born in England, 14th July, 181 1, and 
made her first appearance when at the age of eight, in a burlesque of 
"Richard III," at the Drury Lane Theatre, at once springing into 

She came to America in 1827, first appearing at the Park Theatre in 
New York, and after appearing at Boston and Philadelphia, came to 
Montreal. The theatre-goer of the present day would find it difficult 
to realize the extraordinary interest which Clara Fishrr created in the 
cities of the United States and Canada, and for a period of six or eight 
years afterward she was the favorite star of every city she visited. 
Her "Hurrah for the Bonnets of Blue," "The Dashing White Ser- 
geant," "Buy a Broom," etc., became universally popular; her name 
became a household word, children were named after her, and young 
ladies affected her lisp and manner. 

She not only performed leading parts with Cooper, Vandenhoff, 
Forrest, Hamblin and Charles Kean, but also appeared prominently 
in opera with the Woods, Mrs. Knight, Horn, Braham, Sinclair, Pear- 
man, Miss George, and all the famous vocalists of her On the 
Park stage she was the original representative of nearly fifty parts. 

In December, 1834, she married James Gaspard Maeder, an Irish 
musician, and at his instigation she ventured to appear in opera, but 
with only qualified success. Mr. Maeder died 28th May, 1876. She 
was se?n in Montreal during several seasons, and latterly as a mem- 
ber of the first Buckland regime stock company at the Theatre Royal, 
in 1852 and 1854. Her sister, Ida (Mrs. Geo. Vernon), also a well- 
known actress, was seen in the 1853 company here. Mrs. Maeder last 
appeared on the stage in 1889, when she accepted an engagement with 
Richard Mansfield's company for ten months, but which only lasted 
about ten days* Mrs. Maeder states that she could not get along with 
Mr. Mansfield or he with her, somehow. She then became a member 
of that part of Daly's company then travelling under the management 
of Arthur Rehan. It was with this organization that she made her 
last appearance, presenting Mrs. Jeremiah Joblots, in "The Lottery of 
Love," at Baltimore, in 1899." 
She died at New Brunswick, N.J., 12th Nov., 1898, 

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THE ACHILLES came to New York in 1828. They were very 
fine dancers, the Madam being by some thought fully equal to Hutin. 
She was as graceful, but not as dexterous and daring. For many years 
she kept a dancing school in New York, after having been deserted by 
her hustand, who became the part proprietor of a cafe in Marseilles. 

GEORGE HOLLAND was distinctly an actor of the old school, 
invariably introducing even into modern characters its traditions and 
conventionlitics; his effects uere broadly given, and his personality 
was essentially comical. 

He was born in London in 1791, adopting the stage as a profession 
in 1817. Ten years later he appeared at the Bowery Theatre, and for 
many years afterwards was recognized as a welcome star comedian. 
He died 20th December, 1S70. The Church of the Transfiguration 
(Rev. Dr. Houghton) came into theatrical prominence by this event. 
Joseph Jefferson, tells the story as follows : 

*' Upon the announcement of the death of George Holland, T called 
at the house of his family, who desired the funeral to take place from 
the church. 

"I at once started in quest of the minister, taking one of the sons of 
Mr. Holland with me. On arriving at the house, I explained to the 
Rev. Mr. Sabine the nature of my visit, and the arrangements were 
made for the time and place at which the funeral was to be held- After 
some hesiiation he said that he would be compelled, if Mr. Holland 
had been an actor, to decline holding the service at the church- 

"I rose to leave the room with a mortification that T cannot remem- 
ber to have felt before or since. I paused at the door and said : 

" ' Well, sir, in this dilemma is there no other church to which you 
can direct me, from which my friend can be buried." 

"He replied that there was a little church around the corner 

where I might get it done; to which I answered: 

41 ' Then, if this be so, God bless the little church around the cor- 
ner ;' and so I left the house. 

" The minister had unwittingly performed an important christening, 
and his baptismal name of ' 'The Little Church Around the Corner " 
clings to it to this day." 

So warm was the feeling on the subject of the dead comedian's 
treatment that the theatrical community organized special benefit per- 
formances, by which $15-352.73 was raised and devoted to the sup- 
port of the actor's widow and children- 

MADAME VESTRIS, nee Lucy Eliza Bartolozzi, born in 1797, 
married Armand Vestris in 1813, and C. J. Mathews in 1838. when 
she came to America and appeared at the Park Theatre. She last 
appeared on the stage in 1854 in London, and died in 1856. She 
was a fine musical comedienne. 

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The same company with few exceptions 


Miss Emery being a new acquisition. During the season 
Clara Fisher again appeared as Lctitia Hardy in "The 
Belle's Stratagem," Lady Teazle in the ''School for Scandal," 
and other old English comedies. Among other pieces were 
produced "Actress of All Work," "The Four Mowbrays," 
"Man and Wife," "The Spoiled Child," "The Wonder," 
"The Invincibles," "The Young Widow," "The Rivals/ 
"Le Mariage # de Figaro" and "Fontainebleau," in which 
Mrs. Knight achieved considerable success. She made three 
appearances from nth September. On 14th September Mr. 
De Camp announced in the columns of the press his intention 
of opening the theatre for a limited winter season of ten weeks 
by subscription, giving two performances weekly. Gentle- 
men, 20 nights, boxes, $14 ; ladies, $12 ; pit, $7 and $6. The 
venture was not successful, however, and Mr. De Camp closed 
his season with a benefit to F. Brown, 17th September. The 
Garrison Amateurs also tendered a benefit to Mr. and Mrs. 
Brown, 24th, with "The Rivals" as the bill. In November 
Miss Emery, supported mostly by members of the circus com- 
pany, gave "Isabella" and "The Mountaineers." In the 
support appeared Messrs. Thos. Grierson, Schinotti and Mrs. 
Kent On nth November, Mr. Wells appeared in " Timour- 
lane, the Tartar," in which production the horses belonging 
to the circus were introduced. This incident was much criti- 
cised by the press, who, " aware of the present low state in 
dramatic taste in Montreal, should not profane boards con- 
secrated to sock and buskin by equestrian performances." 
Wells also appeared in "Cerenza." This profanation of the 
Temple of Thespis, however, resulted in profitable business 
being done for a season of two weeks. The theatre was then 
turned over to the Garrison Amateurs, who, on 29th Novem- 
ber, produced Morton's "Speed the Plough." The following 
night Colman's " Heir-at-Law " was presented for the bene- 
fit of the General Hospital. During the month of August, 
Mrs. Feron gave several concerts at the theatre. 

MISS EMERY (Mrs. Burroughs), born in London, Eng., first 
appeared on the stage at the Surrey Theatre in 1827- She promised 
to be a great aitist, playing tragic roles with grand effect. She was 
a remarkably large and beautiful woman, but her life's story was one 

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of the saddest known in the annals of theatrical biography. Her first 
appearance in America was at the Chestnut Street Theatre, Philadel- 
phia. 31st October, 1827, as Belvidera. On 17th March, 1828, she made 
her New York debut at the Chatham Theatre. Her remarkable tal- 
ents were not appreciated in America, probably owing to the condi- 
tion of a rather over-crowded stage as much as to becoming enslaved 
by alcohol. Step by step she declined; her magnificent wardrobe was 
sold, and in time her lodgings were in a miserable garret. This once 
brilliant and magnificent woman was latterly a well-known street fig- 
ure, begging stray quarters from former associates in the profession. 
Her death, in 1832, occurred under pitiful circumstances, resulting 
from a quarrel with a couple of drunken creatures. She managed to 
drag herself to a market-house, and laid down and died. 

MRS. FERON was the most celebrated European vocalist who had 
up to this time visited America. She was a brilliant singer of the most 
florid Italian school. She has been engaged at the San Carlos Theatre 
at Naples at a salary of $5,ooo, but in this country did not 
create a great sensation, being neither young nor beautiful, the lack 
of which attributes was just as unfortunate for the singer seventy 
years ago as it is to-day. 

MR. SCHINOTTI used to glide through an Indian war dance with 
jiative character well marked* He was also a clever pantomimist 
His wife died in 1829, in her twenty-second year. 

WILLIAM G. WELLS, born in London, came to America in 1827. 
He was a clever dancer and ballet master, dancing in connection with 
his sister, who was a pretty little creature. She subsequently married 
And, returning to England in 1846, soon after died. Wells retired 
from the mimic scene early and taught dancing in Pittsburg. He 
died in Mexico in 1841. 

THOS. G R IE R SON came to this country on the " Britannia," 
having as compagnons de voyage Mrs. John Drew, then Louisa Lane, 
aged seven, her mother and Master and Miss Wells, dancers. 
Mrs. Drew records that they enjoyed an exceptionally fine voyage of 
Jour weeks, landing in New York, 7th June, 1827. 

Grierson was a tall and rather ungainly young actor at this time, 
with ambitious aspirations for tragic walks, although unassuming in 
his general demeanor. He was a native of Liverpool, and like all Eng- 
lish actors, was accurate and diligent in his methods. He did not re- 
main long in this country, returning to England, where he inherited 
property from his mother, which made him comfortable for the few 
years he lived. 


was notable for the appearance here of Mr. and Mrs. Wm. R. 
Blake, Mrs. Charles Bernard, Jas. H. Hackett, Mr. and Mrs. 
Fred. Brown, V. De Camp, R. C. Maywood, E. Forrest, W. 

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Duffy and Gara Fisher. The Garrison Amateurs and tire 
Scotch Amateurs also gave representations, the former pro- 
ducing " A Roland for an Oliver " and " The Milter and His 
Men," 12th January, for ihe benefit of the General Hcspital r 
and "The Honeymoon," 12th February. The Scotch Ama- 
teurs presented Allan Ramsay's "Ihe Gentle Shepherd" and 
"Village Lawyer" on the 18th of March, the proceeds also 
going to the General Hospital. 

The City Amateurs produced " Barbarossa " on the 14th 
April, for the benefit of the Orphan Asylum. Mr. and Mrs. 
Knight were given a benefit on the 23rd June, in " Luke the 
Laborer" and Pocock's "Zembuca," taking another benefit 
on the 25th in " Spectre Bridegroom." 

Vincent De Camp was again at the head of affairs when the 
season opened on the 4th of July. The opening bill was * 4 Vir- 
ginius," with Frederick Brown in the tithe role. He appeared, 
7th, in " Damon and Pythias." " The Dramatist " was pre- 
sented on the 9th, together with " The Lottery Ticket," De 
Camp assuming the role of Wormwood. The fcatuie of the 
season was the initial bow in Montreal of Mr. and Mrs. Win. 
Eufus Blake on the nth July, in Tobin's " Honeymoon." 
They subsequently appeared in "Paul Pry," "Katherine and 
Petruchio," "The Road to Ruin," "The Stranger," "The 
Gambler's Fate," and "The Spoiled Child," in which Mrs. 
Charles Bernard appeared. Another important event oc- 
curred when James H. Hackett made his debut here, on the 
22nd of July, as Solomon Swap in 4< Jonathan in England." 

Hackett appeared 28th, at a benefit performance to the 
BJakes in "Speed the Plough," and, 29th, in "Rip Van 
Winkle " and " Down East." 

"Piz?rro " was staged 30th, with the following cast, made 
especially interesting in including the name of Edwin For- 
rest, destined to tecom? America's greatest representative 
of rurg^d tragic! v : risirro, Edwin Forrest ; Rtlla, Fred 
Brown ; Alonzo, Wm. Duffy ; Elvira, Mrs. F. Brown ; Cora, 
Mrs. C. Bernard. The Blakes made their farewell appear- 
ance, 1st August, in "Wives As They Were." 

" Othello," with Forrest as the Moor, Brown as logo, Duffy 
as Cassia, Mrs. Brown zs Dcsdcmona, and Mrs. B-ernard as 
Emclia, was produced 2nd August. Mrs. Bernard took a 
benefit 3rd August in " Ambroise Gwinnett." Ambroisc 
Gwinnett, Mr. Wm. Duffy ; Ned Gayling, Mr. Edwin Forrest ; 
Lucy Fondlove, Mrs. Charles Bernard. Forrest and Duffy 
were seen, 4th, as Damon and Pythias respectively. 

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Mr. and Mrs. Hackett closed 6th August, in "The Comedy 
of Errors/' Cast: Antipholus of Syracuse, Mr. Preston; Anli- 
pholus of Ephesus, Mr. Hardy ; Dromio of Syracuse, Mr. De 
Camp ; Dromio of Ephesus, Mr. Hackett ; Adriano, Mrs. Hac- 
kett; with "Giovanni in London" as the after-piece, Hackett 
in the title role. Mrs. Brown had a benefit, 15th, in 'The 
Honeymoon " and " Family Jars/' assisted by the members of 
the " Buskin Club/' Whatever induced Forrest to visit 
Montreal, unless to accompany his friend Duffy on a summer 
tour, we are not likely to ever know. He was then in his 
twenty-fifth year, and had already made his mark in the 
United States, having been a star since 1825. During the 
October following his incursion to Montreal, Forrest first pro- 
duced "The Gladiator " in Philadelphia. Clara Fisher and 
F. Brown were seen in "The WonJer," i6;h, as Violantc and 
Don Felix; "Therese," 18th; "The Miller's Maid," 22nd; 
"The Idiot Witness," 24th. 

Charles Kean, son of Edmund Kean, made his first appear- 
ance in Montreal, 25th August, as Sir Giles Overreach in 
Massinger's "A New Way to Pay Old Debts," and farce, 
"Lovers' Quarrels." He was seen as Shylock, 26th. De 
Camp had a benefit, 27th, in M. G. Lewis' play, "Castle 
Spectre," on which occasion Mrs. Hughes (late Airs. Younj*) 
made her first appearance as Mrs. Hughes in the character 
of Angela. This closed the season, but Charles Kean was re- 
engaged from 3rd to 20th October, appearing in Richard; 
Othello, 4th ; Hamlet, 7th ; Sir Giles, 8th ; Mortimer, 12th ; 
Tfie Stranger, 14th ; Othello, 15 h ; and, by command of Hi? 
Excellency, Lord Aylmer, "Richard III.," 18th, with a pre- 
lude, " Pay Me for My Eye"; and, again by command, Ham- 
let, 20th. This was his last appearance. A benefit to Es?en- 
der and Hardy, under the patronage of Col. Macintosh, was 
tendered, 22nd, in "Paul Pry" and "The Irish Tutor." 

Late in the season the celebrated Lydia Kelly had large 
audiences for a short season, after a very successful American 
sojourn. From Quebec she returned to England. 

EDWIN FORREST was, by Lawrence Barrett, conceded to be 
greatest in such Shakespearean characters as Lear, Othello and Corio- 
lanus. He was greater, however, in such roles as Virgin ins, Spartacus, 
William Tell and Metamora. Poor Forrest never felt a happy moment 
after his wife's base ingratitude had rent his great soul, and as he 
grew older, other kings had arisen on the stage, to whom his old sub- 

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jects showed a reverence once all his own; the mockery of his diadem 
only remained. Sitting after a performance of 4 * King Lear " one 
night, a friend complimented him on his playing of the role. Where- 
upon the veteran, feeble in health, almost indignantly replied, rising 
slowly, and even laboriously from his chair, to his full height: 
" Play Lear ! I play Hamlet, Shylock, if you please ; but, by God, I am 
Lear I" Nor was this wholly imaginative. Had his suit succeeded 
when he tried to secure the hand of Jane Placide, very different would 
have been his lot. Edwin Forrest was the first American actor of 
greatness to appear on the English stage, on 17th October, 1836. Then 
he was praised and welcomed by Macready, but when the latter visit- 
ed America seven years later for the second time, and found himself 
compared unfavorably with the robust Forrest, envy entered his 
heart. In 1845 it found its vent, or at least Forrest thought it did, 
in influencing the English writers against the American actor during 
the latter's second visit. No one persisted in unjust persecution of 
the visitor more than Macready's particular friend, Forstcr, the critic 
of the London Examiner. He went so far as to review Forrest's work 
as follows: "An old friend, Mr. Forrest, afforded great amusement to 
the public by his performance of 'Macbeth' on Friday evening, at 
the Princess Theatre. Indeed, our best comic actors do not often ex- 
cite so great a quantity of mirth. The change from an inaudible mur- 
mur to a thunder of sound was enormous, but the grand feature was 
the combat, in which he stood scraping his word against that of 
Macduff. We were at a loss to know what this gesture meant, till an 
enlightened critic in the gallery shouted out, 'That's right, sharpen 
it !' 7 ' 

Forrest called on Macready no more, and, unfortunately for both, 
during a performance of "Hamlet" by the Englishman at Edinburgh, 
Forrest injudiciously hissed some of the business in the play scene. 
Then the storm burst. England and America tossed the question of 
courtesy back and forth, and international feelings ran high. The 
climax was reached during Macready's last visit to America, when 
occurred the disgraceful riots at Astor Place Opera House, New 
York, 10th May, 1849. Macready was presenting "Macbeth" on this 
occasion. The rioters broke all the windows and doors of the 

The militia was called out to quell the disturbance, and, after the 
Riot Act had been read twenty times, command was given to fire a 
volley. Twenty-one people were killed, thirty-three wounded and 
sixty-three were placed under arrest. 

Forrest's last public appearance was in Boston as a reader of 
"Othello." While the audience was dispersing, the doorkeeper said: 
" I hope we shall have you with us long, Mr. Forrest." "Oh, yes, he 
replied, " all week." "I didn't mean, here in Boston, but in the 
world-" " Ah, as to that," rejoined the old tragedian, "how uncertainn 
and vague it all is !" The next week he was dead. He died of apo- 
plexy on the 12th of December, 1872. Mr. Forrest accumulated a vast 

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fortune and established the institution for aged actors, called " The 
Forrest Home," 

May the remembrance of his follies not check a tear that should 
flow to his memory, for who is faultless ?" 

WILLIAM DTJTFY and Mr. Forrest were great friends. lie play- 
ed secondary parts to Forrest before entering into a managerial career, 
and it is said that, had he chosen to star instead, he would have 
been a great actor. He was born in Albany in 1803. His parents 
came from Londonderry, Ireland. He first joined Caldwell's com- 
pany in the South, but his regular debut was made in Albany, 19th 
July, 1827, as Bertram. He afterwards managed theatres at Albany 
and Philadelphia. He was murdered in 1835, by an actor named Ham- 
ilton, who was afterwards acquitted. 

JAMES HENRY HACKETT was essentially a comedian, although 
he attained some distinction as a tragedian. His principal comedy 
characters were Justice Woodcock, Sylvester Daggcrwood, Mons. Mor- 
bleau, Dromio, Rip Van Winkle, Nimrod, Wildfire, Mc Sycophant, and, far 
beyond all others, Falstaff. 

He played Lear and Hamlet in 1840 for the first time, and very sel- 
dom thereafter, for he made no impression in tragic parts- This 
comedian was born in New York, 15th March, 1800. At the age of 
nineteen he married the actress, Catherine Lee Sugg, who died in 
1840. In 1866 Mr. Hackett contracted a second marriage, and died 
in 1871, survived by his widow and son, James K. Hackett, now a 
prominent star. 

MR. and MRS. BLAKE.— William Ruftis Blake was born in 1805 
at Halifax, N.S., where he was educated, and made his first essay as an 
actor as the Prince of Wales in " Richard III." He made his New 
York debut as Frederick in "The Poor Gentleman" in 1824. A year 
later he married Mrs. Waring- He starred not only in America, but 
also in England. While playing Sir Peter Teazle at Boston, 21st April, 
1863, he was taken suddenly ill and died the next day- He was of fine 
appearance when young, but after reaching forty, he became corpulent, 
which obliged him to change the roles of sighing lovers to those of 
old men, in which he was excellent. Mrs. Blake, nee Caroline Pla- 
cide, sister to Henry and Thos. Placide, was born O798), at Charles- 
ton, S. C. In 1812 she married Leigh Waring, an English light com- 
edian, who died five years later. She was an excellent Lady Teazle, 
which she played to her husband's Sir Peter. 

MRS. CHARLES BERNARD married a circus clown, named 
Walter Williams, who was commanding a large salary, but she soon 
wearied' of him and was divorced. Her maiden name was Tilden. and 
she came of a well-connected Baltimore family, but the death of her 
father led to her mother adopting the stage, and Miss Tilden in time 
followed. In 1824 we find her playing at Charleston, S.C., and in 

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1828 was married to Charles Bernard, a descendant of John Bernard. 
He, however, soon died of consumption, and Mrs. Bernard tried a 
third husband in the person of Dr. Tucker, of Philadelphia. She was 
a fine looking and dashing actress of general comedy parts. 

I/5TDIA KEIXY, one of the greatest melo-dramatic actresses of her 
day, was the daughter of Captain Kelly, known as " facetious Joe." 
Meeting with great success in London, she came to America, where, at 
the Park Theatre, New York, she proved to be a strong card, from 
17th Sept., 1824, until 26th July, 1831. Upon returning to England. 
she married a French baron. 

CHARLES JOHN KEAN was the second but only surviving son 
of that great genius, Edmund Kean, and was born at Waterford, Ire- 
land, 18th January, 181 1. The fortunes of his father at this time were 
at their lowest ebb, but the tide changed, when, in his third year, 
his father came home, flushed with his triumph at Drury Lane, and 
exclaimed: " Charley, my boy, you shall go to Eton." It was not un- 
til 1824 that he was entered at Eton. 

His lather's reverses obliged him to discqntinue his studies three 
years later, and in order to provide for his mother he embraced the 
stage as a profession, making his first appearance at Drury Lane, 1st 
October, 1827. in the character of KorvaU in "Douglass." The press 
gave him no encouragement, but he persisted and won some applause 
in the provinces. He came to America in 1830, appearing as Richard, 
in the fall, at the Park Theatre. He was in his twenty-first year 
when he visited Montreal. On his return to England in January, 1833, 
he fulfilled several short engagements, and on 25th March was the 
Jago to his father's Othello, at Covent Garden, when the sire collapsed* 
Charles Kean soon became a provincial favorite, and by 1838 was 
recognized in the metropolis as well. He again visited America in 
1839, and married Ellen Tree in 1842. 

In 1846 they ventured on a production in America of "King John " 
and "Richard III," on a scale of splendor never before witnessed in 
this country, and conceived the idea of giving those spectacular pre- 
sentments, chiefly Shakespearean, that suit all the world, to the Prin- 
cess Theatre, in 1850, and which continued for a period of nine years. 
In 1849 Kean lost the mother he loved so much. Mrs. Kean thought 
her Charles the greatest actor that ever lived, not excepting his father. 
This opinion the dear old lady sought to impress on all visitors and 
friends. Kean once gave a dinner party to some distinguished per- 
sons, and begged his mother to abstain from her usual enconiums at 
table. This she promised, but her son. to make sure, arranged that 
if she forgot he would touch his shirt collar as a warning. 

At dinner a noble lord was seated next to Mrs. Kean. They dis- 
cussed various topics of the day, politics, etc. His lordship spoke in 
praise of Macready's Richelieu. This fired Mrs. Kean. 

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From a painting by Reid, in the possession of John Tullis & Co. 

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" My Charles is — " 

(Shirt collar touched — pause.) 

'* Yes?" exclaimed the lord. 

"Is the best — " continued Mrs. Kean« 

(Collar raised again— another pause) 

"Beg pardon," said the lord. 

" Well, then, my Charles is the best actor that ever trod. There ! 
It is out, Charles, and it's no use to pull your cellar up to your eyes/' 

In 1863 Mr. and Mrs. Kean set out on a tour around the world, 
taking in America on their return route in 1865, Kean paying a visit 
to Montreal after an absence of 32 years. Their farewell appearance 
was in May, 1867, at Liverpool. Kean died 22nd Jan., 1868, his wife 
surviving him twelve years. 

Chas. Kean had by nature every bad quality an actor could possess 
■ — a bad figure and voice and an impediment in his speech. But he had 
fine taste and an iron will; tireless industry, and. if he had no genius, 
he had sphndid talents with ambition as high as Hope's great throb- 
bing star above the darkness of the night. 

MRS. HUGHES was born near Albany in 1792, of humble parent- 
age, and in her early life her father moved to Montreal. She was no- 
ticed by John Bernard during a visit here, and four years later became 
his leading lady, when he opened up the Albany Theatre, 18th Jan- 
uary, 1813. Her first husband died in Albany, and she afterwards 
married Mr. Hughes. Her career was a long and successful one, and 
she became an actress of the first rank. As she advanced in years 
she played 'old women" at Burton's, for many years, and on 14th 
June, 1852, was given a benefit there, being announced as the oldest 
native actress on the stage. She retired in i860 to her farm, near 
Sandy Hill, N.Y., where she died 15th April, 1867, from the effects of 
an accident. 

MR. HUGHES possessed classical features, and a noble figure, 
standing six feet high. He had an excellent education and a mind 
well stored with extensive reading, the intellectual evidence of which 
was made manifest in his conversation. He was well known on the 
Boston and Philadelphia stage. His Pisarro was excellent, as was 
also his Henry IV. He died in the South, his wife surviving him. 
Hon. Charles Hughes, State Senator of New York, is their son. 

The frightful epidemic of 


which killed several hundreds of Montreal's citizens practic- 
ally suppressed theatricals that year. On ,9th April a concert 
was given by Mr. and Mrs. Anderson, of Drury Lane Theatre 
and the Italian Opera House, London, in the parlors of the 
British American Hotel. A few amateur performances were 
also given. 

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was an especially notable one, introducing to Montreal the 
great Charles Kemble and his daughter, Fanny Kemble. The 
Browns and R. C. Maywood finished a short season in July, 
being followed, 24th, by the Kembles. Their brcther-in-hvv, 
De Camp, was the manager during the season. In the sup- 
port were Messrs. Barton, C. K. Mason, Knight, and C. Mes- 
tayer; Misses Clara Fisher, Meadows (pupil of Mrs. Brown), 
Mestayer and Smith and Mrs. Sefton. The opening perform- 
ance was in " Venice Preserved " : JaiHcr, Mr. Kemble ; 
Pierre, Mr. Barton ; Bclvidera, Fanny Kemble. On the 25th 
the bill was " Fazio/' in which Mr. Kemble did not appear, 
he deeming the title role insufficiently prominent. It was as- 
sumed by Mr. Barton ; Bianca, Fanny Kemble ; Abdobella, 
Miss Smith ; Clara, Mrs. Sefton. " The Wonder/' 26th ; 
" The Gamester/' 29th ; " The Stranger," 30th ; " Much Ado 
About Nothing/' August 1, with Kemble as Benedict, Fanny 
Kemble as Beatrice, and De Camp as Claudio. "The School 
for Scandal " followed, 2nd, and the engagement closed, 3rd, 
with Scott's "The Lady of the Lake." It is recorded that the 
houses were so crowded that people sat on the stage. 

The Kembles visited Quebec after terminating their Mont- 
real engagement, and played there for two weeks, but re- 
appeared during August in a couple of performances. 

John Sinclair, of the Theatre Royal, Drury Lane, gave a 
concert, 16th August, assisted by Messrs. Madotti, Signor 
Cioffi, Kyle, Herwig and Greenwood. It was repeated 19th. 

The theatrical season re-opened after the company's return 
from Quebec, 22nd August, with "The Maid of Milan" and 
" Katherine and Fetruchio," with Mrs. Brown and Mr. Bar- 
ton in the title roles of the after-piece. " Guy Mannering " 
and "The Day After the Wedding" were also produced. 

Fanny Kemble was the means of preventing the elder 
Charles Mathews from visiting Montreal in 1834-5. In reply 
to his inquiry as to conditions theatrically in Canada, she 
wrote the following letter to him, under date of 21st Decem- 
ber, 1834 : 

"We went to Canada. I believe, upon the same terms as everywhere 
else — a division of profits. Vincent de Camp had the theatres there, 
and of all the horrible strolling concerns I could ever imagine, his 
company and scenery and getting-ups were the worst. He has not 
got those theatres now, I believe, but they are generally open only for 
a short time, and by persons as little capable of bringing forward de- 

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cent dramatic representations as he, poor fellow, was. You are, how- 
ever, so much less dependent upon others than we were for success. 
Heaven knows the company would have been blackguardly represen- 
tatives of the gentry in "Tom and Jerry;" you can fancy that they 
were in heroicals. Our houses were good; so, I think, yours would 
be; but though I am sure you would not have to complain of want of 
hospitality, either in Montreal or Quebec, the unspeakable dirt and 
discomfort of the inns, the scarcity of eatables and the abundance of 
eaters (fleas, bugs, etc.)» together with the wicked (limb) dislocating 
road from St. Johns to Laprairie would make up a sum of suffering, 
for which it would be difficult to find adequate compensation. In tne 
summer, the" beauty of the scenery going down (f) the St. Lawrence 
to Montreal, and of the whole country around Quebec, might, in some 
measure, counterbalance these evils. But unless Mrs. Mathews' and 
your own health were tolerably good at the time, the hourly incon- 
veniences you would have to endure would render an expedition to 
the Canadas anything but desirable. The heat while we were in 
Montreal was intolerable — the filth intolerable — the bugs intolerable — 
the people intolerable — the jargon they speak intolerable. I lifted, 
my hands in thankfulness when I again set foot in these United States. 
The only inn existing at Montreal was burned down three years ago, 
and everything you ask for was burnt down in it-" 

Whew ! What a roasting ! Mr. Mathews, whose health 
was in a precarious condition, preferred not to undertake so 
arduous a journey. He died 28th June, 1835, shortly after 
his return to England. 

MR. BARTON, the tragedian, came to America in 1830. He was 
an Englishman, and met with some success in this country. He was 
a gentleman in every sense of the word, and a sensible and classical 
artist. He was very particular as to stage business, and was enthusi- 
astically fond of his profession, He acted as stage manager for James 
H. Caldwell at New Orleans. His last appearance in this country 
was at New York in 1839, after which he returned to England. He 
was unfortunate in suffering from intense nervousness, as well as 
asthmatic troubles, which eventually caused his death, in 1848. It was 
at his suggestion that the great Charlotte Cushman first undertook 
the. study of serious roles. 

CHARLES KEMBIiE. one of the most notable actors who ever 
came to Montreal, was born 25th Nov., 1775, and received his educa- 
tion at Douai. His first regular stage appearance was as Orlando, at 
Sheffield. In 1806 he married Maria Theresa, a sister of Vincent De 
Camp. As an actor, he became excellent in a line of characters which 
he made his own in such roles as Archer, Doricourt, Charles Surface 
and Ranger. His Laertes and Falconbridge were equal to the Hamlet 
and Coriolanus of his brother, John P. Kemble, and his Cassio as fine 
as the Othello of Kean or the logo of Cooke. His imposing person, 
classical countenance and tuneful voice enabled him to be also highly 
successful in the lighter tragic roles. Attempts at management of 
Covent Garden Theatre resulted in severe loss, but he was saved from 


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ruin by the talents of his daughter, Fanny, who enabled him to pay off 
debts of $60,000. She accompanied him to America in Sept., 1832, to 
reap a golden harvest. Returning to England in 1835 he engaged 
chiefly in giving readings from Shakespeare, frequently by royal com- 
mand, but increasing deafness compelled his retirement. Mrs. Kem- 
ble died in 1838, and in 1841 a loss of $20,oco, which he had invested 
in the United States Bank added to his misfortunes. He was ap- 
pointed examiner of plays by the Lord Chamberlain, and held this 
office up to the time of his death, 12th Nov., 1854. 

FRANCES ANNE KEMBLE, beautiful and gifted, was the daugh- 
ter of Charles Kemble, the grand-daughter of Roger, and niece to 
John Phillip, George Stephen Kemble, and their sister, the great Mrs. 
Sarah Siddons. Fanny, as she was called, was born in London, 27th 
Nov., 1809. The fortunes of her father being at a low ebb she went 
on the stage, making her debut as Juliet to the Romeo of Wm. Abbott, 
at Covent Garden, 5th Oct., 1829. For nearly three years she attracted 
large audiences which replenished her father's exhausted treasury, by 
her splendid talents, which were equally appreciated on an American 
tour in 1832.33. In the full tide of triumphant success she left the 
stage in 1834, to make an unhappy alliance with Pierce Butler, of Phi- 
ladelphia, who took her — an ardent abolitionist — to his Georgian 
plantation. In 1845 she became divorced from Mr. Butler, and in 
the company of her sister, Adelaide Kemble Sartoris (died 1879), un- 
dertook continental travel until 1847, when she commenced her famous 
readings, with unvarying success both in America and in England. 
The last of these was given in Steinway Hall, New York, in Oct., 1868. 
Mrs. Kemble-Butler died at her daughter's residence in London, 
15th January, 1893. 

CHARLES KEMBLE MASON, nephew of Charles Kemble, was 
born in England in 1805, and became a well-known Cogent Garden 
Theatre favorite. His first New York appearance was as Beverley, 
at the Park Theatre, 4th Dec, 1839. His last regular engagement was 
in support of Mrs. Scott Siddons, in 1869- 

JOHN SINCLAIR was the father of Catherine Sinclair, who mar- 
ried Edwin Forrest in 1837. He was born at Edinburgh in 1790, and 
died in 1857. 


were at a low ebb, and the professional season short and un- 
profitable. The military amateurs presented several of the old 
favorite pieces, but a second outbreak of the cholera rendered 
further theatrical representations impracticable. 


was marked by the appearance of a number of people new to 
the city, the principal being Tyrone Power, the famous Irish 

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songster and comedian. The use of the theatre was tendered 
gratuitously by the Hon. John Molson, 9th April, to the ama- 
teurs of the 24th Regiment, when 'The Miller and His Men" 
and "The Irishman in London" were produced for the bene- 
fit of the theatrical fund. The principals were Sergt. Malin, 
Corp. Greer, Nickinson and Fields. Greer spoke a prologue 
of some forty lines. 

The regular season was opened under Mr. Logan's man- 
agement, 5th June, when Tyrone Power made his first appear- 
ance here in the character of Murtoch Delaney, in which he in- 
troduced the song, "The Boys of Kilkenny." He also ap- 
peared as Terry O'Rourkc alias Dr. O'Toolc, and sang "The 
Groves of Blarney." "The Irish Tutor" was also given. 
Mrs. Rogers was the chief support, and the amateurs assisted. 
On nth June Power made his second and last appearance as 
Sir Patrick O'Plcnipo in "The Irish Ambassador" and farce 
of "The Review." On this occasion Mrs. Spiller, being 
indisposed, a gentleman amateur was called to assume her 
role, but Power protested, and Mrs. Spiller finally consented 
to appear, ill as she was. Power's action highly incensed 
the amateurs, but everything was finally amicably arranged. 

At the close of Power's season, Manager Logan left for the 
United States to ascertain the cause of the delay of the new 
company's arrival, with tire result that he entered into ar- 
rangements with the principal performers of the Chestnut 
Street Theatre Company, Philadelphia. In addition to the 
members of the stock company, he announced the engage- 
ment of Madame Celeste, the famous dansctisc and panto- 
mimist. The regular company included Mr. and Mrs. Row- 
botham, Mr. and Mrs, Rogers, E. Hamilton, Thorne, Picker- 
ing and Logan. On nth July "The Honeymoon," and farce 
"Turn Him Out," were played to poor business. Subse- 
quent performances were in " Charles II.," " The Hunch- 
back," " School for Scandal," "The French Spy," and on 21st 
July Madame Celeste made her Montreal debut in "The 
Wizard Skiff," and on 24th "The Wept of the Wishton 
Wish." This piece closed the season 31st July. Logan and 
the company then left for Quebec. On their return a benefit 
was tendered Mrs. Rogers in " The Heir-at-Law," 25th Aug- 
ust. The season had not been remunerative to Logan. Mr. 
and Mrs. Rogers had come here directly from Ireland, where 

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they both enjoyed a large share of public favor, and had been 
noticed most prominently in the Irish press. This was the 
first instance of an actress of Mrs. Rogers' pretensions hav- 
ing chosen the British province for her debut. A perform- 
ance of " The Heir-at-Law " was given with the assistance cf 
the Garrison Amateurs, and on September ist a benefit was 
again given to the Rogers, shared by E. Hamilton, of the 
Philadelphia theatre. "Black Eyed Susan" and "Love in 
Humble Life " were the bills. 

During the month of July, J. W. S. Hows gave a reading 
from Shakespeare at Rascoe's Hotel, where also appeared the 
Siamese Twins. 

About this time began to flourish 


situated in a secluded spot in the Artillery Barrack Yard. It 
was of modest dimensions, yet very well equipped with the 
requisite appurtenances; the officers, commissioned and non- 
commissioned taking part. On 15th September, 1835, "The 
Maid of Geneva " was produced at this playhouse by the am- 
ateurs of the 32nd Resfiment, and on the 13th November they 
again appeared in " The Innkeeper of Abbeville," repeated 

THE SIAMESE TWINS, Chang and Eng, were born at Banga- 
sean, Siam, 15th April, 181 1, and died near Mount Airy, N.C.. 17th 
January, 1874. Their father was Chinese, and their mother Chino- 
Siamese. They came to America in 1825, and were exhibited here 
and in England twenty-five years. After accumulating $80,000, they 
setded as farmers in North Carolina. In 1866 they married two sis- 
ters, by whom they had eleven children, Chang six, and Eng five. 
Two of these were deaf and dumb, but the others had no malforma- 
tions or infirmities. After the war they again resorted to public exhi- 
bitions, but were not very successful. Their lives were embittered by 
their own quarrels and the bickering of their wives. They returned 
home with their tempers much soured and their spirits greatly de- 
pressed after a declaration by the most skilful and eminent European 
physicians that the severing of the band (which they desired) would 
prove fatal. Notwithstanding this, they always maintained a high 
character for integrity and fair dealings, and were esteemed by their 
neighbors. In 1870 Chang had a paralytic stroke and was weak and 
ill, while Eng*s health was much improved. Chang died first, probably 
of a cerebral clot, during the night, and when Eng awoke and found 
his brother dead, his fright, together with the nervous shock acting 

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on an enfeebled heart, caused a syncope, which resulted fatally two 
and a half hours later. The twins differed considerably in size and 
strength, as well as disposition, Chang being considerably the larger 
and stronger, but also the more irritable and intemperate. Their bo- 
dies were taken to Philadelphia, where a careful examination showed 
that a division of the band would have been fatal to both. 

JOHN W. S. HOWS first appeared on the stage in New York, in 
1835, as Shylock, but retired, and for many years taught elocution. 

MARIE CELESTE, born in Paris, 16th August, 1814, made her 
first appearance on any stage at the Bowery Theatre, New York, in 
1827, as a dancer. A year later she married Henry Elliott, the son of 
a wealthy farmer, who soon spent all his money and separated from 
his wife. She returned to England and made a high reputation as an 
actress in melodrama. She revisited America in 1851, and again in 
1865; retired from the stage in 1866, but appeared again in London in 
1874. She died in Paris, 12th Feb., 1882. 

H. H. ROWBOTHAM was born in Bath, England. He was a 
good actor in a wide range of parts. His first American appearance 
was in Philadelphia, 13th May, 1828, in "Jane Shore." His Rob Roy 
was a very good performance, and although his tragic powers were 
not of the first rank, yet he often soared above mediocrity- He died 
in Philadelphia, where he had been connected with the management 
of the Chestnut Street Theatre, 14th February, 1837. He was very 
concientious and honest in his dealings. 

MRS. ROWBOTHAM was originally a dancer at the Italian Opera 
House, London- She was a handsome woman, and was always re- 
ceived by the public with delight. Her maiden name was Johannot, 
and she was born in London. In Philadelphia she was a great fav- 
orite. In 1838 she married Robert Hamilton, and died a year later. 

TYRONE POWER was born at Kilmacthomas, Ireland, in 1797, 
and made his professional debut at Newport as Aloiiso in "Pizarro" 
in 1815. 

He married two years later, and becoming possessed of his wife's 
fortune, left the stage in 1818. Unfortunate speculations forced him 
to return to the stage, when he made his first appearance at London, 
in 1822, in " Man and Wife." He first appeared on the American 
stage, 28th August, 1833, at the Park Theatre, New York, as Sir 
Patrick O'Plenipo and Teddy the Tiler. His last appearance on any 
stage was 9th March, 1841, at the same theatre as Gerald Pepper and 
Morgan Rattler. T. N. Talfourd epitomized the comedian's methods 
in the following expression : " This actor, if not the richest, is to my 
taste the most agreeable of stage Irishmen. He buzzes about the 
verge of vulgarity and skims the surface of impudence with a light 
wing and a decent consideration for fastidious nerves." 

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Tyrone Power was in Petersburg, Va., in 1841, and was observed 
one morning roaming about the old Blandford church grounds- A 
few days after his departure the following lines were found, and are 
still preserved on a wooden tablet. As no one ever claimed their 
authorship they are generally attributed to him: 

" Thou art crumbling to the dust, old pile, 

Thou art hastening to thy fall, 

And round thee in thy loneliness 

Clings the ivy to thy wall. 

The worshippers are scattered now 

Who knelt before the shrine, 

And silence reigns, where anthems rose 

In days of * Auld Lang Syne/ 

" How doth ambition's hope take wing ? 

Where oft in years gone by 

Prayers rose from many hearts to Him, 

The Highest of the High, 

The tread of many a noiseless foot 

That sought the aisles is o'er, 

And many a weary heart around 

Is still forevermore. 

'* How doth ambition's hope take wing ? 

How droops the spirit now ? 

We hear the distant city's din, 

The dead are mute below ; 

The sun that shone upon their paths 

Now gilds their lonely graves, 

The zephyrs, which once fanned their brows, 

The grass above them waves. 

" Oh, could we call the many back 

Who've gathered here in vain, 

Who've careless roved where we do now, 

Who'll never meet again. 

How would our very hearts be stirred 

To meet the earnest gaze. 

Of the lovely and the beautiful.— 

The light of other days." 

He was lost on the steamship "President," which sailed from New 
York, 21 st March, 1841. No monument rears its chaste marble to in- 
scribe thereon his name and fate, that future generations may know 
that such a man had lived, and as he lived so he perished in a " sea 
of troubles." No requiem to sing his soul to rest but the eternal 
moaning of the mighty ocean. 

CORNELIUS A. LOGAN, author and comedian, was born at Bal- 
timore, and was first a printer, then studied theology, but finally went 
on the stage making his debut as Bertram, in 1825. in Philadelphia. 
He first appeared at New York, at Burton's Theatre, in i8jq. in Ws 
own farce of " Chloroform." He also wrote " Yankee Land." He 
was the father of Olive, Celia and Eliza Logan. He died of apoplexy 

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on board a steamer on the Mississippi, 23rd February, 1853. He is 
buried in Spring Grove, Cincinnati' On the headstone is engraved 
his name, also the solitary line : 

" Our father who art in Heaven. 71 

In the spring of 1836 

the Theatre Royal underwent considerable repairs, some 
needed improvements being also added. Preparatory to the 
regular opening of the season a number of amateur perform- 
ances were given in the Military Theatre, where Mrs. Spiller 
was given a benefit 3rd March. 

The house was leased by Manager Thomas Ward, of the 
Washington Theatre. The company included Mr. and Mrs. 
Thomas L. Ternan, William Abbott, John Nickinson, John 
Reeve, J. S. Balls, C. Eberle, Lewellyn, Mr. and Mrs. H. 
Knight, Mrs. Hughes, Madame Celeste, Herr Cline and Gar- 
ner. Mr. Dinsmore, of the Chestnut Street Theatre, Phila- 
delphia, was to have been associated with Mr. Ward, but 
could not get away from home affairs. 

Thomas L. Ternan, styled the " celebrated tragedian, 1 
opened the season 27th June in " Fazio," he in the title role 
and his wife as Bianca. They also appeared in the after-piece, 
entitled " Personation," in which Mrs. Ternan sang " Come 
Love to Me," accompanying herself on the lute with very 
pretty effect. They subsequently appeared in "The Won- 
der " and " La Somnambula." 

William Abbott, the English tragedian, made his Montreal 
debut 5th July as Hamlet. He appeared as Daran in " The 
Exile," 7th, and as Macbeth, 8th, Mr. Rogers being the Mae- 
duff, Mr. Ward Banqtw, and Mrs. Huglies Lady Maebeth. His 
last appearance for the season was on the 9th, when he played 
Charles Surface to the Joseph Surface of Mr. Ternan and Lady 
Teazle of Mrs. Ternan in "The School for Scandal." He be- 
came a favorite here, although he experienced poor business 
during his visit. 

Herr John Cline performed on the elastic cord during week 
of nth July. 

On 20th July, John Sefton made his initial bow here in his 
original character, Jemmy Twitcher, in the "Golden Farmer," 
a favorite piece at the time, written by Benjamin Webster. 
The performance concluded with the farce of "John Jones." 

It was about this time that Mrs. Watts, the first wife of John 
Sefton, made her first appearance here on any stage. 

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On the 23rd was produced " Ttoerese, or the Orphan of 
Geneva," together with "Catching an Heiress." Sefton was 
seen as Lavigne and Tom Twigg in these pieces, being his last 
appearance for the season. 

Mr. and Mrs. Rogers produced " Charles XII. of Sweden," 
4th August, assisted by amateurs. 

John Greene, the Irish character conredian, came to Mont- 
real after having played an engagement at Quebec, making 
his first appearance 15th August in Buckstone's " Married 
Life," and as Murtoch Dclancy in "The Irishman in London/' 
On the 16th he was seen as Pryce Kinchella in "Presumptive 
Evidence/' with the farce, "Lady and the Devil/' 

Herr Cline performed on the wire at each performance. 

M<r. Ward was given a benefit in " Married Life/' 19th, and 
on the following night another benefit was given, Mr. and 
Mrs. Knight being the recipients, w T ith " The Lady of the 
Lake" as the attraction. 

The special event of the season was the appearance of Eng- 
land's great comedian, William Dowton, on the 2nd, 3rd and 
6th of September. The opening bill was "The Rivals," cast 
as follows : Sir Anthony Absolute, Mr. William Dowton ; Bob 
Acres, Mr. John Reeve ; Faulkland, Mr. Thomas L. Ternan ; 
Captain Absolute, Mr. Ward ; Sir Lucius O y Trigger, Mr. 
Rogers ; Lydia Languish, Mrs. Ternan ; Mrs. Malaprop, Mrs. 

Mr. Dowton's second appearance was as Falstaff in "Henry 
the Fourth/' on which occasion Ternan was the Hotspur. The 
comedian's last appearance was as Sir Peter Teazle, in " The 
School for Scandal," Mr. Ward benefiting, 6th September. 

Under the patronage of Major Wingfield and officers of the 
32nd Regiment, "The Recruiting Officer" and " Black-Eyed 
Susan " were presented at a benefit performance to John Nick- 
inson, 7th September, on which occasion Mr. Ward read a 
farewell address written by Mr. Weston. John Greene also 
appeared in his character of Looney McTzvoltcr, and Mr. Nick- 
inson as Caleb Qxwtem in " The Review/' 

The following day saw the departure of the company for 
Washington for the opening of the season there. John Nick- 
inson also left to fulfil an engagement at the Bowery Theatre, 
New York. The season had not resulted in financial gratifi- 
cation to the management, nor had the patronage of the 

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public been at all flattering to the talents of the artists who 
had appeared. 

The Amateurs gave two more performances that year in 
the Military Theatre. 

THOMAS WARD, born in Liverpool, 16th May, 1799, first appear- 
ed on the stage in 1816. In America he was known as an active man- 

JOHN REEVE was a well-known player and a favorite Bob Acres. 
His American debut was at the Park Theatre, New York, 30th Nov- 
ember, 1835. He was chubby, large and fat, and very laughable as 
'"Cupid." He also gave capital imitations of stars, and could turn a 
pirouette, large as he was. He was born in London in 1799. His 
American tour was not pofitable and he soon returned to England, 
where he died 24th January, 1838. 

WILLIAM ABBOT was born at Chelsea in 1789, and made his 
first appearance on the stage at Bath, in his seventeenth year, 
as Alonzo in " Pizarro," He was then engaged by Mr. Diamond for 
three or four seasons, finally making his London debut at the Hay- 
market* Theatre, in the summer of i8id, as Frederick in "Lovers 
Vows." He was the Romeo at Covent Garden, on the. occasion of 
Fanny Kemble's debut as Juliet in 1829. He made his first New York 
appearance at the Park as Beverley in "The Gamester," 28th Sept., 
1835, and re-appeared there as Hamlet 9th April, 1836. He was the 
author of 'The Youthful Days of Frederick the Great" and "Swed- 
ish Patriotism." He made several visits to Montreal, and his last 
appearance on the stage was at the Park Theatre, 29th May, 1843, 
when he played Hemeya to the elder Booth's Pescara, when he was 
seized with an apoplectic fit and died 7th June, at Baltimore. He 
married an American actress, Miss Buloid; she died 15th December, 

HERR JOHN CLINE presented an address and gentlemanly 
gracefulness on the rope that was new here, and his work was the 
general theme of eulogy. He was highly polished in style and atti- 
tude, copying classical statues of ancient masters. He subsequently 
appeared at Guilbault's Gardens, situated on St. Lawrence street, 
above Sherbrooke street, for a short time. His brother, Andre, was 
the Louis Cyr of that period. Herr Cline was born in London, Eng., 
and made his American debut at the Bowery Theatre in 1828. He 
retired in 1862, but, having lost his savings, was compelled to return 
to rope dancing at an age when most others are satisfied to be able 
to walk at all. 

FRANCES ELEANOR TERNAN, nee Fanny Jarman, was born 
at Hull, England, in 1802, and was already a great stage favorite 
at Bath before she reached her fifteenth year. After playing through 

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the provinces she appeared for the first time at London, at Drury 
Lane, Feb. 7, 1827, as Juliet. She came to America with her hus- 
band in 1845, making her debut at the Chestnut Street Theatre, Phila- 
delphia, 18th November, 1834, as Juliet. Her last appearance on any 
stage was at the Lyceum Theatre, London, in 1865, as Alice in "The 
Master of Ravenswood," She died in London, 30th October, 1873. 

THOMAS LUKE TERNAN was born in Dublin in 1799, and made 
an early appearance on the stage. He was well received in the Eng- 
lish provinces as a star. His first American bow was at the Chestnut 
Street Theatre, Philadelphia, in Nov., 1834, in the character of Rich- 
ard III., and in New York the following month as Romeo to his wife's 
Juliet. They went South in 1835, and came to Canada in 1836. They 
subsequently starred all through the principal eastern cities. Their 
last appearance in America was at the Walnut Street Theatre, Phila- 
delphia, nth December, 1836. in Talfourd's " Ion," Mrs. Ternan as 
Evadne. They returned to England, becoming favorites at Drury 
Lane Theatre. He died in London, 17th October, 1846. 

JOHN SEFTON was a celebrated comedian of the second rank, 
born in Liverpool 15th Jan., 1805. He first appeared in America, in 
Philadelphia, in June, 1827, and remained a prominent stage figure 
until his death, 19th Sept., 1868. 

He first married Mrs. Watts, and afterwards Miss Wells, the mother 
of his daughter, Angela, born 1840. 

WILLIAM DOWTON was an artist of the natural school. His 
passionate old men were pronounced faultless, nothing being more 
true to nature, for it was the comedian's nature, he having been 
known to snatch off his wig in an outburst of temper and fling it into 
the fire. He died in 1851, aged 87. 

J. S. BALLS was a dashing young English comedian, born in 1799. 
His first London appearance was in 1829, and at the Park, New York, 
T5th October, 1835- His Vapid in " The Dramatist " was very good. 
His last appearance in New York was in 1840. He died in Dublin in 

CHARLES EBERLE was a low comedian who lost his life on a 
steamer on his way to Boston in 1840. His first appearance on the 
stage was at Frankfort, Ky., in 1822. 

MR. and MRS. HENRY KNIGHT were well-known and esteem- 
ed players here. He was a brother to Edward Knight, already 
noted, and the son of Edward ("little") Knight, a popular London 
actor, who died in 1826. Harry was accidentally killed in 1839. Mrs. 
Knight then married George Mossop. but was divorced, and married 
a non-professional named De Costa, and. retiring, lived in Philadel- 
phia. She was formerly Miss Eliza Kent, and was an excellent act- 

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ress in all the walks of comedy, possessing a fine figure and good in- 
telligence. She was first seen on the stage under Hamblin's manage- 
ment at the Broadway. 

Harry Knight used to sing 'The Poachers," and was very fond of 
the song. It is said that he used to enter the boxes, unobserved, and 
cry out "Knight P "Knight !" in order to be called on to sing, imme- 
diately dodging behind the scenes to answer his own call. 

JOHN GREENE rose to positive excellence as an exponent of 
Irish character. He was born in Philadelphia, and brought up to be 
a printer, but it was the old story; he became " infirm of purpose" and 
went on the stage. He was an early companion of Forrest, and made 
his first stage appearance in 1818; died 28th May, i860. His wife 
was also an actress- Her maiden name was Annie Muskay, and she 
was born in Boston, 23rd March, 1800; died 19th January, 1862. She 
had a commanding figure and pretty features, but became quite deaf 
in later years. 

"OI*D" POWELL, a well-known English actor, is recorded to have 
died here 13th May, 1836, aged eighty-two. 


together with the memory of the previous year's unsatisfac- 
tory business, did not encourage the return of a professional 
company that year for anything like an extended season. 
There is, however, a record of the first appearance here of 
Joseph Proctcw, then a rising young actor, in a round of legiti- 
mate roles, apart from whom a few amateur performances 
were noted; in fact, it was not until 1840 that anything like 
keen interest in Montreal's theatricals was once more revived. 

JOSEPH PROCTOR was born in Marlboro, Mass., May 7, 1816, 
and made his debut on the stage November 29, 1833, in the Warren 
Theatre, Boston, acting Damon in "Damon and Pythias," E. S. Con- 
ner playing Pythias. He went to Albany and opened in the Pearl 
Street Theatre, under the management of Wm. Duffy, October 16, 
1834, as Damon, and subsequently joined the stock company. Later 
he played through the West and in Canada until 1837, when he en- 
gaged at the Walnut Street Theatre. E. S. Conner was also in the 
company, and between them great rivalry sprang up. After their 
joint performance in "Thalba," the patrons of the theatre became 
divided, and were known as the Proctor and Conner factions. 

At the Bowery Theatre, in 1839, Mr. Proctor made his first appear- 
ance in New York, acting Nathan Slaughter in "Nick of the Woods," 
or the "Jibbenainosay." M r . Proctor played in it upwards of two 
thousand times. 

In 185 t he went to California, and after starring in the principal 
towns, embarked in management in the American Theatre, San Fran- 

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cisco- Subsequently he built the Sacramento Theatre, which in 1876 
became a Chinese Theatre. Mr. Proctor frequently played Othello to 
the logo of the elder Booth, and Iago with Edwin Forrest as the Moor. 
His repertory also included Virginius, Macbeth, King Lear, Rich:lieu, 
Jack Cade and other legitimate roles. After playing a farewell star 
engagement in 1859, at New York, he sailed for England. He made 
his debut in London, at the Standard Theatre, where he played one 
hundred nights in a round of Shakespearean characters, "Nick of the 
Woods " and other dramas. He then made a lour through Ireland 
and Scotland. In the company of the Theatre Royal, Glasgow, he 
met Henry Irving, who played Macduff, De Mauprat, Cassio and Ro- 
land Forrester ("Nick of the Woods'*) with him. Returning to Lon- 
don, he fulfilled engagements in the Surrey and Marylebone The- 
atres. He came back in the fall of 1861, making his re-appearance 
in the Howard Athenaeum, Boston, and then made a starring tour of 
the country. From the Spring of 1873 until the Fall of 1875 he was off 
the stage, devoting his attention to a patent he had purchased of the 
inventor. He was said to have lost $70,000 in that venture. He again 
re-appeared before the public with a company on the combination 
plan and retired from the stage some years before his death, which 
occurred in Boston, 2nd October, 1897. 


was the occasion of the first appearance in Montreal of Ellen 
Tree, afterwards the wife of Charles Kean. Miss Tree made 
her debut here on Wednesday, 22nd August, in the character 
of Julia in "The Hunchback, v and after a short season pro- 
ceeded to Quebec. 

Between 1836 and 1839 ^ ss Tree visited every large town 
in America, realizing the sum, large for that time, of £12,000. 
Her next visit to Montreal was after an absence of twenty-six 

EI/LEN TREE (Mrs. Charles Kean) was one of four sisters, the 
eldest of whom, Maria, was a vocalist of considerable ability, and it 
was at her benefit that Ellen Tree, when seventeen years of age(i822), 
made her first appearance, in the character of Olivia. Her talents had 
won for her an independence within twenty years, when she married 
Charles Kean- Thereafter she stood at her husband's side, his best 
adviser and his strongest support. It is not necessary to recall all 
the triumphs which were obtained. Mr. Kean acted for the last time 
in May, 1867, after which they both retired from the stage, he dying 
during the following January; she, in 1880. It seemed hard that after 
laboring so long and so strenuously they should not have been 
longer spared to each other in their well-earned retirement. There 
have been few actresses, who, like Mrs. Kean, could undertake the 

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whole range of character and excel in so many. There is a wide 
distance between Ion and Violante, between Rosalind and Portia ; but 
few had seen either more delightfully portrayed than by her. Poetry 
and pathos, gaiety and force alike never demanded in vain, a dramatic 
tact which mounted to genius, and a mastery of blank verse, which few 
actresses have attained, were but parts of her gifts. Her domestic 
character was as admirable as her public career. 

DURING 1839 

we find the Amateurs as the leading feature, the Garrison 
Amateurs presenting "X. Y. Z."; or, "Old Sandgliter's Cof- 
fee House,'' on nth January for the benefit of the widows 
and orphans of the volunteers killed at Odelltown. "Othello 
According to Act of Parliament," was the after-piece. On 
22nd January they produced " My Husband's Ghost," " The 
Unfinished Gentleman " and " Frank Fox Phipps." 

The most notable star engagement was that of Miss Jean 
Margaret Davenport, then in her twelfth year. On 5th 
August she appeared as Richard III., supported by her father 
and mother ; Shylock, 7th ; Norval, 9th ; Sir Peter Teazle, 
1 2th; Norval and Paul Pry in Petticoats, 14th; "The Dumb 
Boy," 19th; Shylock, 20th; "The Child of Nature," 26th; and 
a repetition of " The Dumb Boy," 27th. 

While in London Miss Davenport had been presented with 
Kean's hat after her performance of Richard, and in New 
York she was given a gold watch and chain. 

MRS. LANDER {nee Jean Margaret Davenport) was born in Eng- 
land, 3rd May, 1829, and made her debut in her eighth year at New 
York as Little Pickle in " The Spoiled Child." She was successful 
and her parents put her through a course of studies in a well-selected 
repertoire. From being a youthful prodigy she subsequently made a 
distinct hit as an actress of intense roles. In i860 she married Col. 
Fred. W. Lander, who was killed in battle two years later. Mrs. 
Lander then returned to the stage, after ministering for many 
months to the sick and dying soldiers. She was the original Camille 
in this country. Her last appearance was in Albany, under Mr. Al- 
baugh's management, when a version of Hawthorne's " Scarlet Let- 
ter" was produced. 


began early in the year. The Raines Family, Tyrolese Min- 
strels, gave a concert in Roscoe's Hotel, 20th June, and re- 
mained until 13th July. 

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was managed by Fuller and Weston, and included W. C 
Drummond, Latham, Tuthill, Clifford, Mr. and Airs. Harry 
Hunt, Mrs. Hughes and Miss Shaw. Mrs. Creswick, wife of 
Wm. Creswick, the tragedian, made her first appearance here 
on the opening night of the regular season, nth July, when 
" The Barrack Room " was performed. On 14th July Harry 
Hunt and Mrs. Hughes made their bows here in " Charles 
II." Then followed productions of " The Maid of Croissey," 
" Paul Pry/' " Love in the East," etc. The subsequent ap- 
pearance of the operatic artists, Mr. and Mrs. Edward Seguin 
and Mr. Horncastle in "The Barber of Seville," "Fra Dia- 
volo, ,, "Cinderella,'' was a treat to lovers of music. 

Mrs. Creswick, who had came here direct from Mad. Yes- 
tris' Theatre, New York, some weeks previously, was joined 
by her husband, he making his first appearance here on 8th 
August in " The Iron Chest." Cast : Sir Edit'. Mortimer, 
Wm. Creswick; Adam IVinterten, Thos. Fuller; Orson, H. 
Tuthill; Lady Helen, Mrs. Louisa Hunt; Blanehe, Mrs. Eliza- 
beth Creswick; Barbara, Miss Shaw. "Simpson & Co. ,? was 
the after-piece. 

Montreal was favored with the appearance of another 
good actor during the short period of the Creswick engage- 
ment, in C. K. Mason of the Covent Garden Theatre, who 
made his debut here as a star, nth August, in Othello, with 
Creswick as Iago. "The Stranger,'' "Rob Roy" and "William 
Tell" followed on 12th, 15th and 18th August. Mason had 
been here in 1833. Mr. and Mrs. Creswick took a benefit on 
24th August in Bulwer's "The Birthright." On 25th August 
the Seguins produced " Cinderella," and on 26th August 
Knowles' "Love" was presented with "La Somnambula." 
"Douglas" was produced on 1st September and on 3rd Sep- 
tember. The Seguins closed the season with "La Gazza 
Ladra,' 7 but re-appeared at an amateur performance of "Der 
Freischutz" on 8th September, this being their last appear- 
ance for the season. 

Rockwell's Amphitheatre Co. opened a circus season on 
2 1 st September. 

A cursory glance at the foregoing cast of "The Iron Chest" 
may not elicit much interest until its importance is realized 
when we consider that it records the appearance of the late 
Mrs. John Drew, who was first married to Harry B. Hunt in 

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HARRY B. HUNT, a young Irish comedian, possessed a fine 
voice, and was in demand as the singing hero in the melodramas and 
light operas of the time. He had been a member of the fast set which 
had surrounded George the Fourth before his ascent to the throne, 
and was a gentleman of dashing manners and great animal spirits. 
He died in New York nth Feb., 1854. 

MRS. JOHN DREW, nee Louisa Lane, was the daughter of Mr. 
and Mrs. Thomas F. Lane, English players, and was born in London, 
10th January, 1820. Her mother brought her to America in 1827, 
when she was known as a child prodigy. 

In 1848, after securing a divorce from Harry Hunt, the popular 
actress married George Mossop, a fairly good actor of Irish birth, 
who was chiefly remarkable because he could not speak without stut- 
tering badly off the stage, although before the footlights his language 
was as smooth and flowing as that of an orator. He died a year af- 
terward, and in 1850 Mrs- Mossop met and married John Drew, the 
best comedian in America in Irish parts, and those requiring elegance 
and dash and broad humor. Like Hunt and Mossop, he was a na- 
tive of Dublin, and was twenty-three years old at the time of his mar- 

In 1853 was born the present John Drew, and on 21st May, 1862, the 
senior Drew died. Mrs. Drew's mother, who had been married to 
Mr, Kinloch, died in 1887, aged 91. The Arch Street Theatre, Phila- 
delphia, was opened for the first time under Mrs. Drew's direction, 
August 31, 1861, with "The School for Scandal" and "Aunt Char- 
lotte's Maid," which plays were presented by one of the best stock 
companies ever organized. 

A history of the house during Mrs. Drew's management would be 
almost an epitome of the activity of the American stage during this 
period. Few, indeed, were the representative American plays and 
players that were not seen at the Arch Street Theatre while Mrs. 
Drew was manager. 

Old favorites made last appearances there, and young actors and 
actresses — fledglings who were destined to soar high — made their 
debuts upon that stage. 

When Mrs. Drew relinquished the management in 1892, after thir- 
ty-one years of service, she had not made a fortune, but she had given 
her theatre and herself a glorious record of artistic achievement. 

Mrs. Drew played the part of Mrs. Mclaprop in "The Rivals," for 
the first time on February 22, 1879, when Joseph Jefferson revived the 
old comedy at the Arch Street Theatre- This is, perhaps, the charac- 
ter with which she is most closely identified in the minds of the pre- 
sent generation of theatre-goers, and upon that first night the artistic 
delicacy and quaint humor of Mrs. Drew's portrayal brought her a 
share of the honors equal to that of Mr. Jefferson as Bob Acres. 

Mrs. Drew appeared at the Academy of Music. Montreal, week 
22nd May, 1893, in "The Rivals." The following was the cast: 

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Mrs. Mahfrop, Mrs. John Drew; Sir Anthony, McKee Rankin; 
Lydia Languish, Mrs. Sidney Drew; Capt. Absolute, Maurice Barry- 
more; Bob Acres, Sidney Drew; St. Lucius, Edmund Lyons. 

Mrs. Drew re-appeared here in June 1894. She died 31st August, 
1897, and is buried in Glcnwood, Philadelphia, within easy view of my 
window, as 1 draw this record to a close. A ray of starlight is stream- 
ing on that beautiful hillside, gleaming on a tomb whereon is in- 
scribed the memory of a brilliant actress, a most excellent woman 
and a devoted mother— the tribute of a loving son. 

THOMAS FULLER was born at Dracut, Mass.. and made his 
debut in March, 1838, at the Tremont Street Theatre, Boston. He 
was the manager and lessee, in Montreal, during 1838-9-40-41, coming 
from Albany, whence he escaped, being cudgelled by an actor named 
Eaton. Fuller, to avoid him, hid in a garret until evening, when he 
slipped into a carriage, was driven down to the river and taken on 
board the night boat in a skiff, and so left Eaton dissatisfied and Al- 
bany without a manager. While in Albany Fuller had been outwit- 
ted by a printer, who was his heaviest creditor. He printed tickets 
for the last performance, sold them himself and kept the money. 
Those were hard days for our theatrical friends. 

MR. and MRS. EDWARD SEGUIN.— Mr. Seguin was superior 
to any previous basso in America. He was born in London in i8o9t 
and, after appearing in minor engagements, made his regular London 
debut in 1831, and in America at the Broadway Theatre, 13th October, 
1838. Died of consumption 13th December, 1852. 

Mrs. Seguin, nee Annie Childe, was also born in London, appearing 
on the stage at a very early age* Her first appearance in New York 
was at the Park in 1841, and last appeared in 1882. She died 24th 
August, 1888. 

WILLIAM CRESWICK, although not one of the giants of art, 
was certainly the very first of the second rank. Born 27th Decem- 
ber, 1813, in the immediate neighborhood of Covent Garden, he fre- 
quently saw the most eminent players of the time, and although in- 
tended for a mercantile career, he soon evinced a decided predilec- 
tion for the stage. In 1831 he accepted an engagement at a small the- 
atre on the Commercial Road, London, and soon afterwards joined a 
small company at Suffolk. In 1834 he was playing leading business 
in the York circuit, where he met Miss Elizabeth Paget, of the 
Olympic Theatre, whom he subsequently married, and who died 16th 
February, 1876, aged 67. Returning to London, he made his first 
prominent appearance 16th February, 1835, as Meredith in Jerrold's 
" Schoolfellows," at the Old Queen's Theatre. He visited America 
in 1840, and remained three years, playing heavy tradegy. He was 
subsequently associated with Phelps, Macready and Helen Faucit, and 
a trip to Australia added greatly to his fame. He revisited America 

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in 1871 with Jams Bennett and Walter Montgomery for his associa- 
ates. Creswick took his farewell to the stage 29th October, 1885, 
when a complimentary benefit was given the esteemed actor at Drury 
Lane Theatre, when he appeared in a scene from '* King Lear." He 
died 17th June, 1888, his remains being laid close to those of his 
friend Macready, in the old catacombs of Kensal Green Cemeitery. 

W. O. DRTJMMOND, born in London, made his first American 
appearance on the stage in Baltimore in 1810. This was in the ballet 
of "Cinderella," he having originally been a dancer. He was the first 
husband of the beautiful Anne Henry. 

It is said that his wardrobe was unequalled during his palmy days. 
To him all passions came as easily— to weep, to laugh, to sigh or to 
rage. He died in New York 21st February, 1871. 

The year 1841 brought Mons. Alexandre, on 2vcA January, 
in four representations in French and English of "The Devil 
on Two Sticks/' and during the spring the Garrison Amateurs 
gave a few representations. 


was regularly opened in July under the management of Fuller 
& Weston. W'e find in the company Mrs. Hughes, Miss Mc- 
Bride, Mrs. Hautonville, Mrs. J. A. Smith, Messrs. J. A. 
Smith, Nickinson, Stafford, Merryfield, Weston and Fuller. 
The first night of the season was on 9th July, when "Laugh 
When You Can" and "The Lottery Ticket" were presented. 
Wm. Abbott began a four nights* engagement 10th July in 
"The Lady of Lyons/' "Romeo and Juliet/' "The Stranger," 
and terminated on 13th July with a repetition of the opening 
night's bill. Mrs. Hautonville made her first appearance on 
1 2th July as Juliet to Abbott's Romeo. The old operatic fav- 
orites, the Seguins, returned this season, appearing on 15th 
July in "La Somnambula." Abbott played a return engage- 
ment in "The Sea Captain" and "Richelieu" on 27th and 28th 
July, which was extended into August. "Catching an Heir- 
ess'' and "The Old English Gentleman" were staged, and on 
16th August "Nicholas Nickleby" was produced with Abbott 
in the title role. "The School for Scandal" was followed by 
"Hamlet," 19th; and "Mazeppa" was also presented. The 
famous singing comedian, Braham, had appeared at a con- 
cert in Rascoe's Hotel, nth August, and was engaged to ap- 
pear at the theatre 2nd September for two night's in "Love in 
a Village." Abbott, assisted by the amateurs, presented 
"Charles XII. of Sweden" for a benefit on 7th September. 

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Fanny Fitzwilliam, a celebrated comic actress of London, ap- 
peared on the following evening in "The Irish Widow," and 
was followed by the first appearance in Montreal of the cere- 
brated comedian and sketch writer, J. B. Buckstone, 9th Sep- 
tember, as Sclim Pcttibon in his own piece, "A Kiss in the 
Dark/' Abbott made his last appearance for the season 
as Frank Hcartall in "The Scottish Widow/' Buckstone, 
supported by Fanny Fitzwilliam, appeared in several of the 
comedian's, sketches. "The Irish Widow" was repeated 16th 
September for a benefit to the managers. The season closed 
on 17th September with "The Banished Star," when the com- 
pany left for Quebec. 

JOSEPH ALFRED SMITH was born in Philadelphia in 18 13, and, 
when a young man, was a favorite member of the first stock com- 
panies in that city, in Boston and in New York. During his long ca- 
reer he played in support of nearly every noted artist of the time. By 
every player with whom he was associated he was beloved, and his 
kindly manners earned for him, in the old days, the title of "Gentle- 
man Joe." 

He retired from the stage in 1884, after playing during the latter 
years of his career in travelling companies. From that time up to 
the period of his passing away, 1st August, 1899, he had been a guest 
at the Forrest Home, where, with the friends of his youth about him, 
he passed the happiest period of his life. To the aged players there 
his death was a severe blow indeed. 

JOHN B BAHAM , born in 1774, was the son of a Portugese He- 
brew. His first appearance in America was at the Park Theatre, New 
York, 21 st December, 1840. He died in 1856. 

MRS. HAUTONVHXE (Mrs. Bradshaw), known as the beautiful 
Miss Cross, of the Chestnut Street Theatre, Philadelphia, first appear- 
ed there in 1831 as a member of the ballet, and later became a good 

J. M. WESTON, who had been joint lessee with Fuller during 
1840-41, played small parts. He was born in Boston in 1817, and first 
came out as Richard under Pelby's management in New York. "Dr." 
Weston was a useful actor, with good judgment; but his forte was as 
a stage director. We find him managing the magician Macallister 
from 1852 to 1856, when, after the latter's death, Weston married the 
widow. He was for a time acting as agent for A. J. Neaffie, the tra- 
gedian. His wife died in South America in 1859, aged 27. Weston 
certainly was a bird of passage. 

JOHN BALDWIN BUCKSTONE may be said to have played al- 
most all the principal low comedy parts of the English drama. His 
name is inseparably associated with seme of the most amusing char- 

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acters in the higher range of old English comedy, for example: Gru- 
niOy Speed, Touchstone, Sir Andrew, Aguecheek, Zekiel, Homespun, 
Scrub, Tony Lumkin and Bob Acres. It may be added that the varied 
attributes of those characters have invariably received at his hand the 
happiest illustration. Mr. Buckstone was born at Hoxton, near Lon- 
don, in September, 1802, and died 31st October, 1879. 

JOHN NICKINSON, w ho first appeared here during the season 
of 1836, and who was manager and lessee in 1843, was a great favor- 
ite in Canada. He was born in London in 1808, and at the age of fifteen 
enlisted in the British Army as a drummer boy. His regiment subse- 
quently came to Quebec, where he took part in amateur performances, 
having a strong bent in that direction* His corps was afterwards sta- 
tioned in Montreal, where he made a number of professional friends, 
bought his discharge and entered on a theatrical career. In 1852 we 
find him at the head of a company touring Canada, and among its 
members were W. J. Florence, C. M. Walcot, jun., and Charles Pe- 
ters. They appeared in Quebec, Montreal and Toronto. In Toronto 
Nickinson was induced to take a lease of the theatre, which he relin- 
quished in 185S. He was subsequently manager of the Utica Museum 
and the Albany Museum, and was also well known in New York city. 
He died in a drug store in Cincinnati, 8th February, 1864. He left a 
widow and five children : Charlotte, Eliza (who married Charles Pe- 
ters), Virginia (who married Owen Marlowe in 1857 and died in 
New York city, 7th March, 1899), Isabel (who married C. M. Wal- 
cot, jun.), and John. 

Mr. Tuthill was lessee of 


Several new faces were seen, Mr. and Mrs. John Sloman 
making their debut, 26th May, in Knowles' "Hunchback," Mr. 
Walter Leman being the Master W alter \ William Wheatley 
as Sir Thomas Clifford', Mrs. Sloman as Julia) and Mrs. A. W. 
Penson as Helen. Other members of the company were Mr. 
Byrne, Mrs. Brown, Mrs. Henry and Mr. W. C. Drummond. 

Mr. Drummond appeared as Jaffier, Mr. Wheatley as 
Pierre and Mrs. Sloman as Belvidera in "Venice Preserved," 
27th May. 

The event of the season was the appearance of the people's 


I reproduce in full a copy of the bill announcing the event. 

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and programme, the only known original being in the posses- 
sion of Henry Hogan : 


For this night only. 
The manager has the honor to announce a performance in 
which Charles Dickens, Esq., together with the distinguished 
Garrison Amateurs (whose successful performance on Wed- 
nesday last created such unbounded admiration), will appear 
this evening, Saturday, May 28, 1842. The performance 
will commence with "A Roland for an Oliver." Sir Mark 
Chase, Hon. P. Methaen; Alfred Highflyer, Mr. Chas. Dick- 
ens; IVm. Selbourne, Earl of Mtalgrave; Fixture, Capt. Wil- 
loughby ; Gamekeepers, etc. ; Maria Darlington, Mrs. A. W. 
Penson ; Mrs. Selbourne, Mrs. Brown ; Mrs. Fixture, Mrs. 
Henry. After which "Two O'Clock in the Morning." Snob- 
bington, Mr. Chas. Dickens; The Stranger, Capt. Granville, 
23rd Regiment. To conclude with "High Life Below Stairs." 
My Lord Duke, Dr. Griffin, 85th Regiment ; Sir Harry, Capt. 
Willoughby, 23rd Regiment ; Lovcll, Capt. Torrens, 23rd 
Regiment; Coachman, Capt. Granville, 23rd Regiment; Free- 
man, Earl of Mulgrave; Shilep, Mr. Chas. Dickens; Kingston, 
Mr. Thomas; Tom, Mr. Hughes; Mrs. Kitty, Mrs. A. W. Pen- 
son ; Lady Bob, Mrs. Henry ; Lady Charlotte, Mrs. Brown ; 
Chloe, Miss Heath. The performance to commence at half- 
past seven. 

On Monday evening Mr. and Mrs. Sloman's third appear- 
ance/' Montreal, May 28th, 1842. — Gazette Office. 

The performance had been preceded by a strictly amateur 
and select production a few nights before, which Dickens 
fully described to his f Fiend, Forster, as follows : 

"The play came off last night; the audience, between five and six 
hundred strong, were invited as to a party, a regular table with re- 
freshments being spread in the lobby and saloon. We bad the band 
of the 23rd (one of the finest in the service) in the orchestra, the the- 
atre was lighted with gas, the scenery was excellent, and the proper- 
ties were all brought from private houses. Sir Charles Bagot, Sir 
Richard Jackson and their staffs were present, and as the militarv 
portion of the audience were in full uniform, it was really a splendid 
scene. We ' went ' also splendidly through with nothing very re- 
markable in the acting way. We had for Sir Mark Chase a genuine 
odd fish, with plenty of humor, but our Tristam Sappy was not up to 
the marvellous reputation he has somehow or other acquired here. I 
am not, however, let me tell you, placarded as manager for nothing. 
Everybody was told they would have to submit to the most iron des- 

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potism : and didn't I come Macrcady over them ? The pains I have 
taken with them and the perspiration I have expended during the last 
ten days exceed in amount anything you can imagine. I had regular 
plots of the scenery made out, and list of the properties wanted, and 
had them nailed up by the prompter's chair. Every letter that was 
to be delivered was written; every piece of money that had to be giv- 
en, provided; and not a single thing lost sight of. I prompted my- 
self when I was not in; when I was I made the regular prompter of 
the theatre my deputy; and I never saw anything so perfectly in 
touch and go as the first two pieces. The bedroom scene in the inter- 
lude was as well furnished as Vestris had it; with a 'practicable' fire- 
place blazing away like mad, and everything in a concatenation accord- 
ingly. I really do believe that I was really very funny; at least I know 
that I laughed heartily myself, and made the part a character such 
as you and I know very well — a mixture of F. Harley, Yates, Keeley 
and Jerry Sneak. It went with a vim all through; and, as I am closing 
this, they have told me I was so well made up that Sir Charles Bagot, 
who sat in the stage box, had no idea who played Mr. Snobbington un- 
til the piece was over. But only think of Kate playing ! and playing 
devilish well, I assure you ! All the ladies were capital, and we had no 
wait or hitch for an instant. You may suppose this, when I tell you 
that we began at eight and had the curtain down at eleven. It is 
their custom here to prevent heartburnings in a very heartburning 
town, whenever they have played in private, to repeat the performance 
in public. So, on Saturday (substituting real actresses for the ladies), 
wc are to repeat the two first pieces to a paying audience, for the man- 
ager's benefit. I have not told you half enough. Wasn't it worthy 
ot Crummels that when Lord Mulgrave and I went out to the door to 
receive the Governor-General, the regular prompter followed us in 
agony with four tall candlesticks with wax candles in them, and be- 
sought us with a bleeding heart to carry two apiece, in accordance 
with all the precedents." 

With all due respect to the memory of Mr. Dickens, his 
account would head us to believe that he had been the "whole 
show'' ; in fact, the dickens and all, and the others nonentities. 

Milman's "Fazio" followed 30th; "Lady of Lyons," 31st: 
"The Honeymoon," 1st June; "Victorine," for Sloman's bene- 
fit, 2nd June; "Therese," 3rd; "Victorine," 4th; and benefit 
to Mrs. Sloman, 6th, in "Isabella/' "The Heir-at-Law" was 
produced 7th, and on 9th, by command of His Excellency the 
Governor-General, "The Poor Gentleman" was presented. 
J. H. Hackett began a short engagement on 10th in "Henry 
IV.," followed by "Rip Van Winkle," "Yankee in England/' 
and closed 14th June. On 15th was noted the first appear- 
ance of Mrs. Seymour in the character of Mrs. Holler in "The 
Stranger/' with Wheatley in the title role. "The Lady of 
Lyons," "A Child of Nature," "Mabel's Curse" and Bulwer's 
"Money' followed. Mrs. Sloman closed with "Romeo and 
Juliet," 20th, playing Juliet to Wheatley's Romeo. Miss Mel- 
ton was a debutante, 21st, as Letitia Hardy, followed by produc- 
tions of "The Englishman in India," "Paul Pry/' and Mrs. 

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Seymour reappeared, 24th, in "The Captive Maniac." Miss 
Melton was seen, 25th, in 'The Wonder" and "Charles XII.," 
and closed with a benefit, 27th, with "Faint Heart Never Won 
Fair Lady." An interesting feature of the season was the 
appearance of T. D. Rice, 28th June, in "Deaf and Dumb," 
"After the Sarcophagus' ' and "Jumbo Junior/' introducing the 
famous song "Jim Crow." He took a benefit, 4th July, in 
"Bone Squash Diavolo." Miss Melton, who had returned 
from Quebec, was seen in "The Englishman from India," 5th 
July. Rice re-appeared for Latham's benefit, 6.h, taking part 
in the after-piece, "The Virginia Mummy," to Boucicault's 
"London Assurance," which was repeated several nights. 
"Douglas" and "Money" were again staged, and on 13th 
Wheatfey was tendered a benefit. 

On 18th July, under military patronage, was performed 
"Henri Quatre" and "Ambroise Gwinette." A benefit to the 
" needy of the steamboat disaster " took place the following 
evening in "Charles XIL of Sweden." A revival of "George 
Barnwell," 22nd, was followed 23rd by a benefit to Manager 
Tuthill in "Ttoe Rivals," Miss Melton as Lydia Languish and 
Latham as Bob Acres. This performance closed the season. 
The Steyermark Family of musicians opened 8th of August. 

ladelphia in 1801- At the age of sixteen she married W. C. Drum- 
mond, from whom she was subsequently divorced, leaving him with 
two daughters. In 1825 her extraordinary charms of mind captivated 
George H. Barrett, to whom she was wedded, but the brilliant union 
was in time disturbed; this fascinating beauty, whom Fanny Kemble 
described as "a faultless piece of mortality in outward loveliness," 
had acquired an insane craving for stimulants that it at times placed 
her in such positions as would even question her honor. In 1840 Mr. 
Barrett secured his divorce. In 1842 we find her in Montreal as Mrs. 
Henry, and, as fate would have it, in the same company as Mr. Dnim- 
mond- Through proper influence the poor woman mended her ways 
and was restored to society. She renewed the triumphs of her former 
years, and commanded the admiration of all by her marvellously pre- 
served beauty, which even at the age of fifty seemed as fresh and as 
charming as in her girlhood. She died 22nd December, 1853, and lies 
buried at Mount Auburn, under a monument bearing the lines : 

" With fairest flowers 
We'll sweeten thy sad grave. Thou shalt not lack 
The flower that's like thy face, pale Primrose, nor 
The Azured Harebell, like thy veins, nor leaf 
Of Eglantine, not sweeter than thy breath." 

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MISS MELTON, a clever Englishwoman, made her first American 
appearance on the stage at Burton's Theatre, Philadelphia, in 1840. 
She married and retired from the stage* 

MB. and MRS. JOHN SLOMAN.— Mr- Sloman was an apostate 
London Jew, and became an English buffo. " We do not know what 
'buffo ' means," said the critic of the Albany Advertiser, but he is an 
English "buffo." After playing for many years in England and 
America* he finally established his residence at Charleston, S.C., where 
he died in January, 1858. His forte was farce comedy. A daughter* 
Jane, also possessed dramatic ability. 

Mrs. Sloman, daughter of Wm. Dowton, was a tragic actress, correct 
and lady-like, but too coldly classical to suit the multitude. She died 
8th February, 1858, aged 59. 

WALTER M. LEMAN had high aspirations towards the tragic 
walks. He was born in Boston, where he began as a call boy in 1828, 
and made his first regular debut in Montreal as Master Walter in "The 
Hunchback," 26th May, 1842, to the Julia of Mrs. Sloman. Return- 
ing to Boston, he became manager of the National Theatre, and af- 
terwards drifted to California, where in San Francisco, on 16th Decem- 
ber, 1878, a benefit was tendered him to commemorate the fiftieth an- 
niversary of his professional career. He died in that city 31st De- 
cember, 1890. 

THOMAS D. RICE was born in New York in 1808, and made an 
early appearance on the boards. He met with great success in Eng- 
land in 1836. He never forfeited the respect of the public or the good- 
will of his fellowmen. He died in i860. 

WILLIAM WHEATLEY was an accomplished actor, and, al- 
though he was capable of playing the entire range of legitimate roles, 
was most excellent in such impersonations as Captain Absolute, Charles 
Surface, Doricourt and Young Mirable. He made his first stage appear- 
ance as Albert to the William Tell of Macready, at the Park Theatre, 
New York, in 1826. He so pleased the great tragedian that he was 
taken on tour. He subsequently fulfilled a number of successful en- 
gagements, and after closing his Montreal season he became manager 
of the Walnut Street Theatre, Philadelphia, shortly afterwards retir- 
ing from the stage to go into finance on Wall Street He soon re- 
turned to his first love, however, and was afterwards mostly engaged 
in managerial ventures, retiring altogether in 1870. He died 3rd Nov- 
ember, 1876, aged 59. 

HENRY TUTHILL was a gentlemanly, high-souled fellow, and a 
native of Dublin, where his father had been a wealthy hotelkeeper, 
who established Harry in the silk business in 1823, but he became 
bankrupt in 1830, and afterwards went on the stage, a vocation he had 
always liked. He came to America in 1832. In 1852 he was in Cali- 
fornia. He died in Dublin, 14th April, 1863. 

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THE YEAR 1843 

brought to Montreal Mr. and Mrs. Chas. J. Hill, both of 
whom became great favorites. They were the parents of 
Barton and Rosalie Hill, the latter appearing with her parents 
during the season. Mr. and Mrs. Nickinson also appeared, 
together with Miss Mary Rock, Miss Bailey, J. W. Wallack, 
jun., Geo. Graham, Baker and Geo. H. Andrews. Nickinson 
was the manager, and the season opened 5th June with %< J onn 
of Paris' and "The Four Sisters." The Boucherville fire 
sufferers had a benefit, 24th, in "Beauty and the Beast." Then 
followed productions of "The Rivals/' "Black-Eyed Susan," 
"Jack Sheppard," "Robert Macaire," "The Honeymoon." 
J. W. Wallack, jun., made his first appearance here 8th Aug- 
ust as Melnotte to the Pauline of Mary Rock in "The Lady of 
Lyons"; Mrs. Sutherland was the Widow, and Mrs. C. Hill 
Mad. Lachapcllc. The French Opera Co., from New Orleans, 
opened a season nth August, closing- 21st for the season. 
Rockwell and Stone's circus did a good business during the 

GEORGE GRAHAM, an excellent low comedian, born in Man- 
chester, England, made his first American appearance on the stage at 
Mitchell's Olympic Theatre, New York, in 1840. He died in Boston 
in 1847. 

JAMES W. WALLACK, Jun., was a handsome, popular and tal- 
ented actor. He was the son of Henry Wallack. brother to Fanny, 
and cousin to Lester Wallack. He came to America in 1819 with his 
father, being then a year old, and first appeared on the stage at three 
as Cora's child in "Pizarro," in Philadelphia. In 1838 he was the lead- 
ing actor in his uncle's (J. W. Wallack, sen.), theatre in New York. 
In 1842 he married Mrs. W. Sefton, formerly Miss Waring. He vis- 
ited London in 1851, playing there and also in Paris. From that 
time up to his death, which occurred 23rd May, 1873, he starred with 
Mrs- Wallack in the legitimate drama. In referring to him, Jefferson 
says: ''Young, vigorous and handsome, he was the most romantic 
looking actor I ever saw; there was a dash and spirit in his carriage, 
too, that was charming. I say he was at his best in those days, be- 
cause in after years the acting of Macready, whom as an artist he idol- 
ized, had an unfortunate influence upon him, as he ultimately became 
imbued with the mannerisms of the English tragedian, which were so 
marked that they marred the natural grace of the imitator." 

MRS. WALLACK. the daughter of Leigh Waring and Caroline 
Placide, afterwards Mrs. W. R. Blake, was born in 1815, Her first 
appearance on the boards was at the Chatham Theatre, 27th Septem- 

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ber, 1818. In 1837 she married W. Sefton, who died two years later, 
and after remaining a widow three years, was married to J. W- Wal- 
lack, jun., with whom her subseqtuent stage career was associated. She 
was a powerful and intelligent actress. Joseph Jefferson says of her : 
"All who remember Mrs. J. W. Wallack, jun., will attest the force of 
her tragic acting. In the quality of queenly diginity I think she even 
surpassed Charlotte Cushman, though she lacked perhaps the spirit 
and fire of the latter." 

MARY ROCK was another Clara Fisher, to whom she proved a 
powerful rival. After the death of her parents in London, when she 
was very young, she was adopted by a wealthy aunt in Dublin. As 
she verged into girlhood, she met the best society under her aunt's 
roof, such as Tom Moore, O'Connell, Shiel and others. Reverses, how- 
ever, sent her to Edinburgh, where she taught music, and at the age of 
twelve she was brought out on the stage as Tom Thumb, and soon 
known thorugh the provinces as "The Little Fairy," Sir Walter 
Scott was an early friend, as was also Charles Mayne Young, the Eng- 
lish tragedian, who encouraged her to play heroic roles. Always petite, 
she shrank from assuming that pretentious line, but Young said, 
" My wife was no larger than you, but when she played Lady Macbeth 
— and he accompanied his words with such pantomimic power that 
the picture could be seen — she was a giantess !" Miss Rock first ap- 
peared in America at Boston's Federal Street Theatre, under the man- 
agement of tragedian William Pelby, in 1827. Her last appearance at 
New York was in support of Forrest, at the Bowery Theatre, 2nd Oc- 
tober, 1840, as Julie to his Cardinal. During her Montreal engagement 
in 1843 she met Capt. Murray, of the English Army. He was Sir 
John Murray, Baronet, and a man of wide and varied acquirements, 
had travelled much, but did not possess the qualifications of a good 
husband. A physician found that it was necessary for the captain to 
cross the water for the benefit of his health some time after his mar- 
riage with Miss Rock, and the faithful wife scraped together her hard- 
earned means, entrusted the whole to the captain, together with her 
jewels, etc. He set out for England, "but never came back." She 
then for several years taught music in New York and Albany, fighting 
the battle of life nobly, but now, in her old age and poverty, is almost 
forgotten, and yet this remarkable woman had such universal versatil- 
ity as permitted her the entire range of farce, comedy, tragedy and 
opera. Truly the avenues of life are often darkened by overwhelming 
tribulation, yet often in some manner inexplicably surmounted by in- 
domitable grit. 

GEORGE H. ANDREWS, born in London, 1798, made his Amer- 
ican stage debut as Bob Acres in Boston, 1827. He died in New York, 
7th April, i865. 


We have now arrived to the last season of the old Theatre 
Royal, its downfall having been in consideration for some 

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time in order to erect the present Bonsecours Market. Early 
in the month of May, 1844, the material was sold by auction to 
Mr. Footner, architect, for $150. It was not demolished until 
after the regular season, however, which was the most notable 
since the appearance of Edmund K«an, eighteen years previ- 
ously, in presenting to Montrealers the great William Charles 
Macready. The opening was in June, when Mrs. George 
Jones and Mr. Rodney appeared in a repertoire of standard 
pieces, the most interesting production being "Pizarro," wLh 
Mrs. Jones as Bclvidcra and Mr. Rodney as Rolla. Leander 
Rodney was lessee and manager, and the company included 
Mrs. William Isherwood, Mrs. Robinson, Messrs. J. S. Silsbee, 
Jas. N. Robinson, Samuel Johnston, Chas. A. King, J. B. 
Vanstavoren, Thos. A'Becket, J. B. Phillips and T. F. Len- 
nox. Mrs. Gibbs, a good singer and comedienne, also ap- 
peared. On 8th July Mrs. Jones presented her first appeal to 
the Montreal public, under the patronage of His Excellency 
Sir C. Metcalfe, in Knowles' 'The Wife" and "Love's Sacri- 
fice. ,, Macready 's engagement was announced by Mr. 
Robinson, acting manager of the Theatre Royal, to com- 
mence 15th July in Hamlet, but owing to the illroess of vhe dis- 
tinguished visitor lie could only open 17th. He was sup- 
ported chiefly by Mrs. Jones, Mr. Ryder and Mr. Rodney. 
Hie was seen as Richelieu, 19th; Werner, 22nd, when His Ex- 
cellency the Goveinor-General was present ; and Macbeth, 
24th, fcr Macready's benefit, he playing the title role to Mrs. 
Jones' Lady Macbeth, Ryder's Macduff and Rodney's Banqito. 
First and s-econd boxes, 5s. ; pit, 3s. 9d. ; gallery, is. io^d. 
Doors open at 7 ; performance at 8. 

Mr. Macready had been in the city from 6th July, and it was 
during his Montreal engagement that he made the following 
well-known entry in his diary : July 17th. — Acted Hamlet; lay 
on my sofa at the hotel ruminating upon the play of Hamlet; upon 
the divine spirit ichich God lent to that man Shakespeare to create 
such intellectual realities, full of beauty and of pozver. It seems 
to me as if only now, at fifty-one years of age, I tJwroughly see 
and appreciate the artistic power of Shakespeare in this great 
human phenomenon; nor do a'iy of the critics, Goethe, S chic gel, 
or Coleridge, present to me in their elaborate remarks 
the exquisite, artistical effects ivhich I see in this work, as long 
meditation, like long straining after light, gives the minutest por- 
tion of its excellence to my view. 

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''The Falls of Clyde'* was given, 31st, at a benefit to Mr. 
Lennox, and Mrs. Jones received a similar testimonial, 6th 
August, in "Fazio/' previous to her departure for Europe. 
On this occasion the lady was the recipient of an address. 
The last performance given at the old Theatre Royal was on 
8th August, when Shakespeare's "Comedy of Errors" was 
presented at a complimentary benefit to the manager, Mr. 

R. C. Maywood, under vice-regal patronage, gave an enter- 
tainment at Roscoe's Hotel, 18th June, 1845, entitled "Lights 
and Shadows." This was his first appearance here in several 

JOSEPH B. VANSYAVOREN, a native of Philadelphia, began his 
theatrical career there at the Walnut as a call boy in 1838. He be- 
came a useful actor of limited range, and died in 1852 in New York. 

MRS. WM, ISHERWOOD (daughter of John Clark) first appear- 
ed on the stage in New York as Pirt in " London Assurance," and 
died there 29th June, 1850. 

Her husband, in partnership with McKenzie, opened the first the- 
atre in Chicago in 1837. He died in 1841. 

THOMAS A'BECKET had the distinction of making his first stage 
appearance on board an English frigate at Valparaiso, S.A.. and in the 
U.S. in 1836 in New York. He was born in Rochester, England. 

JOHN B. PHILLIPS was an admirable prompter, and a genuine 
comic genius. 

Off the stage his wit at times was hardly unworthy a Hood or a 

It is told that Forrest, the tragedian, coming among the list of 
" stars/' Phillips was assigned the part of Horatio in " Hamlet." At 
rehearsal during the first act a difficulty arose from Phillips being 
unable to give the emphasis Forrest wished conveyed to Hora- 
tio's line, ' I warrant it will." The progress of the rehearsal was in- 
terrupted, and many times the following dialogue repeated, without 
producing the desired effect : — 

Hamlet. — " I will watch to-night, 

Perchance 'twill walk again." 
Horatio.—" I warrant it will/' 

"No, no, no," roared Forrest; "deliver it in this way, Mr., Mr., 
Mr.— Phillips." 

Then giving the line with the required force and expression, he 
paused and glared at Phillips, who was coolly and deliberately 
answered, "No, sir: if I could deliver it in that way my salary would 
Be five hundred dollars per night." The humor of the remark was 
too much for Forrest's gravity even; with a characteristic grunt 

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(such as only Forrest could utter), the tragedian walked to the 
"prompt table," and with a smile said to the manager, "let Mr. 
Phillip's salary be doubled at my expense during my engagement." 
Night came, and poor Phillips, elated with good fortune, and over- 
anxious to please Forrest, ruined everything. 

" I will watch to-night," 
said Hamlet- 

" Perchance 'twill walk again/' 
quickly replied Horatio, taking the sentence out of Hamlet's mouth. 
Forrest with difficulty restrained his passion, and when he came off 
the stage* fuming with rage, roared, " I will give one hundred dollars 
per week for life to any one who will kill Mr. Phillips." 

He was a brother to H. B. Phillips, s-> well known for several sea- 
sons as acting manager here for Mr. Buckland. J. B. Phillips mar- 
ried Annie Myers, and died in Baltimore (the scene of the occurr- 
ence of the foregoing anecdote), 12th July, 1862. 

MRS. GEORGE JONES became prominent in subsequent Mont* 
real theatricals. She was the wife of the very erratic Jones, better 
known to professionals of the present day as Count Johannes. Mrs. 
Jones was a favorite and capable actress, and was the recipient of a 
flattering compliment from the great Macready, whom she supported 
here during the 1844 season. She last appeared in 1870 in Niblo's 
stock company. Mrs. Jones died in Boston, 12th December, 1875* 
Her maiden name was Melinda Topping. 

JOSHUA S. SIIiSBEE was a clever impersonator of " Yankee " 
character. He was born in Steuben county, N.Y., 1st December, 
1813, and first appeared on the stage in his 25th year. His New York 
debut was made in 1843. He starred for several seasons, and in 1850 
went to England, remaining abroad three years. He died in Califor- 
nia 22nd December, 1855* 

THOS. F. LENNOX was a character actor of Scottish peculiarities, 
and well known on both sides of the line. He was born in Scotland 
and made his American debut at the Chatham Theatre in 1829 as Rob 
Roy. He died in October, 1849, at Memphis, Tenn. 

THOS. RYDER, Macready's leading man. and an actor of con- 
siderably note, died 31st December, 1872, aged 61. 

WILLIAM CHARLES MACREADY was born in London 3rd 
March, 1793. His father was a theatrical manager, and in his seven- 
teenth year William managed a company of players at Newcastle, Wm. 
A. Conway being the star. Macready was educated for the church, but 
it was owing to Mrs. Siddon's suggestion that the pulpit lost a gifted 
speaker. The senior was shocked at ihe idea. " Well, then, your 
son will live and die a curate on £50 or £70 a year." said the greatest 
of actresses, "but, if successful, the stage will bring a thousand a 

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year." The wily manager took the hint, and in 1811 his son made a 
successful debut as Romeo. After being advanced on a tour through 
the provinces, he made his initial London bow as Oreste, 16th Septem- 
ber, 1816, 

Richardson, an old showman, was always very proud of having 
numbered Edmund Kean among his company. When Macrcady's 
name had become well known, Richardson was asked if he had ever 
seen him. "No, mister," he answered, "I knows nothing about him; 
in fact, he's some wagabone as nobody knows— one of them chaps as 
ain't had any eddication for the thing. He never was with me, as 
Edmund Kean and them riglars was." Macready made rapid strides, 
and the great popularity of Knowles* " Virginius," which he was the 
first to bring out, added immensely to his own. In 1824 he married 
Miss Atkins. His first visit to America was in 1826; his second in 
1844, and his third and last in 1849, when occurred the fatal Astor 
Place riots, which resulted in the death of 22 persons. The trouble 
arose over the jealousy of Edwin Forrest, and broke out during a re- 
presentation of "Macbeth," by Macready, 10th May. Macready 
made a public statement, pledging his sacred word of honor that he 
had never shown any hostility to " an American actor." This called 
forth a, public letter from Forrest, in which he confessed and gloried 
in having hissed the English actor, but denied having assisted in any 
systematic organization against him, adding, with an insolence en- 
tirely unworthy of Edwin Forrest, that his advice had been to let "the 
superannuated driveller alone." In the sketch of Edwin Forrest the 
tragic results were narrated. Macready was glad to escape to Boston 
in a covered carriage, and returned to England. His farewell to the 
stage took place 26th February, 185 1, when he played Macbeth. A 
public dinner was given him under the management of Charles Dick- 
ens and presidency of Lord Lytton. The remaining twenty-two years 
of his life were engaged in superintending the education of his child- 
ren and schemes for the welfare of the poor. 

Chivalrously he hearkened to the call sounded by the mystic trump- 
eter from death's pale realm, and, surrounded by those nearest and 
dearest to him, between smiles and tears, he reached his journey's 

" Farewell, Macready ; moral, grave, sublime ; 

Our Shakespeare's bland and universal eye 

Dwells pleased through thrice a hundred years on thee. ,% 

Montreal's seventh play-house was called 


It stood on the present site of the Riendeau Hotel, on the 
west side of Jacques Cartier square, near Notre Dame street, 
on property belonging to Mr. Roy, and was built by subscrip- 
tion. George Skerrett was lessee and manager. The open- 
ing was on the 23rd of June, 1845, when Goldsmith's "She 

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Stoops to Conquer " was presented. Then followed " The 
Ladies' Club/' "Married Life," ''Minister of Finance, ,, "The 
House Dog," "His Last Legs," "A Match in the Dark," "The 
Heir-at-Law," etc. On 21st July R. C. May wood began an 
engagement in Macklin's "A Man of the World," in which he 
appeared in his great role of Sir Archy MacSycophant. He 
next appeared in "John Bull," 'The Hunchback," "The Mer- 
chant of Venice," and 'Time Works Wonders." Miss Clar- 
endon appeared for the first time 19th August in "The Lady 
of Lyons," 'The Honeymoon," 20th, and 'The Stranger," 
2 1 st. Mr. and Mrs. Charles Hill took a benefit 22nd in "The 
Dream at Sea"; George Skerrett, the manager, followed with 
a benefit in "Speed the Plough" to a full house. Skerrett 
delivered a poetic address as a farewell, and the first regular 
season of the new theatre was brought to a close. The house 
was re-opened 8th September with Signer Mazzochi as man- 
ager and Van Praag as stage manager. Julia Vincent and 
Mrs. C. Howard were featured in several spectacular perform- 
ances, and a number of light comedies were also staged. They 
closed 27th with a benefit to Signor de Begnis. George 
Skerrett was again at the head of the 1846 company and lessee 
of the Royal Olympic Theatre. With a few exceptions his 
associates were the same as in the previous season, and the 
attractions of the year would not suggest noteworthy com- 

GEORGE and EMMA SKERRETT were clevor players and great 
favorites here, as well as at Albany, where they were also managers. 
George Skerrett was born in Liverpool, 21st May, 1810- He married 
Emma Palmer, who was born in Glasgow in 1817. They came from 
England in 1844, making their initial bows at the Park Theatre, New 
York, Mrs. Skerrett's debut being 3rd September, as Gertrude in "The 
Loan of a Lover," and Mr. Skerrett's on 14th September. He died 
at Albany, 17th May, 1855, of consumption. Mrs. Skerrett afterwards 
married Harry L. Bascombe, from whom she separated in 1857. She 
died in Philadelphia, 27th September, 1887. Their daughter, Rose, 
born 1838, married L. R. Shewell in i860, and a son, George, died in 
New York city lately. 


or Hay's Theatre, was the eighth in the city's annals, and was 
situated at the rear of the building" known as the "Hay's 
Block," at the corner of Notre Dame street and Dalhousie 
square, and extending back into Champ de Mars street. The 

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location of the building was at that time in the most fashion- 
able quarter of the city. Several companies of artillery and 
infantry were then located at Montreal, their barracks being 
on ground now covered by the Canadian Pacific Railway De- 
pot. The officers of the militia were the lions of society, and 
St. Denis street was then to Montreal what Sherbroolce street 
is now. 

The Hays* Block was built in 1846-7 by Moses Hays, of 
the firm Hays & Hawiks, hatters anl furriers. It was a block 
of four and a half stories, stone front. The front portion of 
the building was tenanted by the Free Masons. John Wells 
was the architect. George Skerrett was the manager and R. 
J. Jones assistant manager. The opening was on 10th 
July, 1847, wit h Shakespeare's "Much Ado About Nothing." 
On this occasion James W. Wallack, jun., appeared at the 
head of the company. The cast was as follows : Benedict, Mr. 
Wallack; Claudio, John Dyott; Don Pedro, Mr. Palnrer; Don 
John, Mr. Ward; Dogberry, Mr. Skerrett; Leonate, Mr. Pardey; 
B or actio, T. B. DeWalden ; Friar, Mr. MacDonald ; Beatrice, 
Mrs. Skerrett ; Hero, Miss Maywood ; Ursula, Mrs. Flynn ; 
Margaret, Miss Frazey. The performance was preceded by 
the National Anthem and an address by Mr. Sberrett. Miss 
St. Clair introduced dances, and "Tom Noddy's Secret" con- 
cluded the whole. Wallack appeared as Shylock, 12th; "The 
Wife/' 13th; "The Wonder/' 14th; "Much Ado," 17th; and 
again in a benefit performance to himsdf in "Hamlet," with 
"Katherine and Petruchio" as an after-piece. He was then 
re-engaged, and appeared in "The Brigand/' "The Rent 
Day," "Don Caesar de Bazan" and "The Hunchback." 

Wallack's engagement was followed by another equally not- 
able, in that of James R. Anderson on 2nd August in "Oth- 
ello" Mrs. Bland, late Harriet Faucit, had been specially 
engaged to support him. On 3rd was produced "The Lady 
of Lyons"; "Macbeth," 4th; "Lady of Lyons," 5th; "Mac- 
beth," 6th; and Anderson's benefit 7th in "The Elder Bro- 
ther." He opened his second week in Schiller's "Robbers," 
9th; "Othello," 10th; "Hamlet," nth; "The Robbers/' 12th; 
"Macbeth/' 13th; and closed 14th with "The King of the 

JAMES ROBERTSON ANDERSON was born in Glasgow 8th 
May, 181 1, and died 3rd March, 1895. He first appeared in strolling 
companies and became manager of the Leicester, Gloster and Chel- 
tenham circuit during 1834-5 and '36. He first appeared under Mac- 

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ready at Covent Garden as Florisel in " The Winter's Tale," 30th Sep- 
tember, 1837. He made rapid progress, and at the same theatre 23rd 
May, 1842, he first appeared in a star part, Othello. He came to Amer- 
ica in 1846-7, part of 1848, and again in 1853. In 1867 he made an 
Eastern tour. He last appeared before the American public early in 
i860, when he concluded a tour that had continued since 20th October, 
1858. Writing in the Newcastle Chronicle a history of his early en- 
gagements, Mr. Anderson thus described his impressions: Monday, 
26th, found me en route for Montreal. I slept at Niagara Falls, and on 
Tuesday took the steamer on Lake Ontario, touching at Kingston, a 
melancholy looking place, and bearing away for the River St. Law- 
rence- Wednesday, got out of my berth at 4 o'clock in the morning 
to witness the steamboat run down the famous and dangerous rapids. 
It was a grand sight to see her descending at such fearful speed, with 
six Indian pilots at the wheel to keep her steady in her course. The 
slightest deviation in steering the boat would have driven us against 
the huge perpendicular rocks that lined both sides of the river, and 
dashed us to pieces without a chance of life. Our pilots, however, 
brought us safely through those frightful dangers, and landed us in 
Montreal at 9 o'clock on Thursday evening. I found good quarters 
at Daly's hotel. 

They had a fine large theatre in Montreal, of which Mr. George 
Skerrett was manager. I opened in "Othello;" the play was very 
fairly acted, the house well filled, the audience judicious and liberal in 
their approval. I was called for, and received with much applause. I 
was pleased with my reception. I ran through the first six nights, 
acting the old plays to very good business — so good that the manager 
induced me to renew the engagement for six nights more, which turn 
ed out equally well; and on settling day he handed me in gold and 
notes $1,250. Not bad for the month of August, with the ther- 
mometer at 90 degrees in the shade. The exchange in money between 
Canada and the United States was heavy at this time, but it was better 
to do it in Montreal than in New York. I bought a bill for $1,000, 
and sent it to my friend, W. P. Chapman, to be placed to my credit 
in "The Union." 

Montreal was a handsome, lively, bustling city, and being somewhat 
Frenchified, reminded one of New Orleans. It is beautifully situated 
on the noble river St. Lawrence, and the surrounding country is pic- 
turesque and lovely- At the back of the town "the ride round the 
mountain is perfectly unique." 

True forty-eight Viennoise children opened a short season 
16th August, closing 25th. Tire troupe was under the direc- 
tion of Josephine Weiss, from the Imperial Theatre, Vienna. 
Nothing prettier than the dancing of these children had been 
seen here. Their grace, precision and artlessness left an im- 
pression which remained for a long time on the minds of 
thore who saw them. 

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Mrs. Seguin, after an absence of three years, appeared, 26th, 
in opera, supported by a small musical company. During the 
season Miss St. Clair, a clever dancer, entertained between 
intermissions, and on the last night, 29th Septemebr, took a 
benefit in Boucicault's "London Assurance," she dancing her 
usual pas seuL The seasons 1848, and 1849 passed without 
noteworthy incident, excepting that De Walden, the stage 
manager, retired in 1848, and that the Government Legisla- 
ture met at the theatre for a short time after the destruction 
of the Houses of Parliament by the mob in 1849. 

T. B. BE WALBEN was born in London in 181 1 and first went 
on the boards as a professional early in 1844. His American debut 
was in December of that year. He retired from the stage about 1857, 

JOHN BYOTT, equally capable in tragedy as in comedy, was a 
native of Dublin, where he was born in 1812. In 1837 he married Mis* 
Watson, and seven years later made his initial appearance in America 
as Iago to the Othello of J. R. Anderson in New York. He retired 
twenty-five years later to his farm at New Rochelle. 

H. O. PARDEY, an Englishman, born 16th September, 1806, re- 
tired from the stage in 1855 to write plays, some of which were suc- 
cessful. He was found dead in a street in Philadelphia, 3rd March, 

It was in the winter of 1849 tnat 


came into existence and gave a series of performances at the 
Theatre Royal, the first, "Rob Roy," being for the benefit of 
Jos. Smith Lee, who had been dismissed from a lucrative 
Government position through having incurred the wrath of 
the existing powers. Mr. Lee was a Shakespearean scholar, 
and a favorite generally. This was the year of the riots in 
Montreal, which resulted in the mobbing of Lord Elgin by 
the Tory side, party feeling running very high. Encouraged 
by their success, the members of the Garrick Cliub rented a 
brick building on St. Jean Baptiste street, now occupied as a 
warehouse by the firm, Evans Sons & Co., and opened it as 
the Miniature Theatre, also known as the Garrick Theatre, 
and lastly as Skerrett's Bandbox. On the opening night, 
12th October, 1850, "The Tower of Nesle," with the comedy 
of "State Secrets, ,, were presented. The President, J. H. 
Isaacson, read an address in rhyme. Mr. Isaacson claimed its 


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draft. Inasmuch as it marks an historic event in Montreal's 
theatrical annals, I herewith reproduce it, although it is not my 
intention to note at length performances by amateurs. 

Ladies and gentlemen, I wish to say 
Just a few words to you before the play; 
In fact, the truth with candor to confess, 
I'm going to speak the " Opening Address." 
It's mentioned in the bills, and so — and so— 
Of course, I must deliver it, you know, 
The Club decided that it should be done; 
The Secretary said he'd be the one 
To write it. That decided, came the question 
who would speak it. I offered the suggestion 
That Mr. Baxter was extremely fit 
And proper for the office — " De'il a bit !" 
But all cried out (I told them they would rue it) 
"Oh, you're the President, and you must do it." 
Now Presidents have generally a supply 
Of talk quite inexhaustible, but I 
Of public speaking am extremely shy. 
Indeed, at first, I felt inclined to vow 
I wouldn't do it ; yet here I am. So now, 
'Sith I am entered in this cau«e so far/ I pray, 
Lend an attentive ear to what I have to say. 
'Twill net be very long; the words are few ; 
We merely wish to give a general view, 
To tell you what we are and what we mean to do. 
First, of our little play do not suppose 
That with presuming vanity we chose 
That honored name of Garrick — our intent 
Was merely to express the — what we meant 
Was — just — I really do. I must confess, 
Forget what he intended to express. 
But never mind; we'll let that matter go ; 
What I desire is that you all should know 
That we are modest, feel our own demerits, 
And do not think we're Garricks. Keans or Skerretts, 
But some who hear me now are thinking, p'rhaps : 
"Oh, yes : you're quite a modest set of chaps ; 
Extremely modest ; Shakespeare, nothing less. 
Will suit your taste. We rather guess 
You'll make of that a pretty decent mess." 
Stay, gentle friends ; allow me to remark. 
You're, metaphorically, in the dark. 
We are not actors, and we therefore may 
Not fully act the business of the play. 
The frantic rushes and the sudden pauses 
We have not practised much ; they re of the causes, 
You will admit, of unreserved applauses, 
But, though not actors, we can tell a tale 
Of gentle Shakespeare's and, I think, not fail 
To interest our hearers- 
Enough, no doubt, of my discourse you've heard, 
And yet I've spoken scarce a single word 
Of what I meant to say — which seems absurd. 

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But, you* know, I told you I was never 
At speech-making particularly clever. 
Pardon my faults, kind friends, and I will try 
To speak a little better by-and-by. 
We'll meet again in Venice ; pray you there 
Give me and all who speak a hearing fair. 

Among the members of the Club were J. H. Isaacson, F. 
T. Judah, George Smith, brother of the designer of St. An- 
drew's Church; Henry Stearnes, brother of Hon. Henry 
Stearnes ; Captain Lovelace, afterwards Colonel Lovelace ; 
Matthew Baxter, F. J. Locke, John Sharpe, B. Christopher- 
son, R. Thomas, J. S. Lee, J. Driscoll and a man named Paris. 
Messrs. Christopherson and Sharps generally assumed female 
roles, having stage names of Miss Kitsonand Miss Dudley 
respectively. During the few years of the Club's existence 
were produced, "The Heir-at-Law," "The Canadian Settler," 
'The Tower of Nesle," "Merchant of Venice/' "Lady of 
Lyons," "The Honeymoon," "Othello," "Douglas," and a 
comedy by Jerrold called " The Bride of Ludgate/' exclu- 
sive of a large number of farces which were performed as 
after-pieces. Performances were given twice each week dur- 
ing the winter season, the Club's efforts receiving great en- 
couragement from the citizens. 

Mr.' Matthew Baxter is the only surviving member. 

The opening of the regular season of 1850 at the Hays' 
Theatre occurred late, but several transient troupes had ap- 
peared previously. Sand's American minstrels appeared 4th 
and 5th February. The Ravels began a two weeks' engage- 
ment 15th July. Mons. Adrian, the magician, was seen 14th 
August, and, as already noted, the Garrick Club appeared 
12th October. The regular season was begun 30th October. 
The manager was Henry W. Preston, already well known in 
Montreal, having at one time been a member of De Camp's 
company, and afterwards for a short time his successor in the 
management of the old Theatre Royal, on St. Paul street. 
Preston had for associates in his new venture, Messrs. Lyne, 
Barton, Marshall, Cushman, Brookton, Newton, Hastings, 
Taylor, and Masters Hastings and Taylor ; Mrs. Isabella 
Preston, Marshall, Hastings, Melville, and Fanny Mow- 
bray, a famous danseuse. " The Stranger " was the open- 
ing bill 30th October, Miss Mowbray introducing dances. 
The band of the 20th Regiment was also in attendance. 
A series of standard plays was subsequently staged, "The 

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Maid of Croisy," "The Honeymoon," " Bertram," and, 
on 6th November, Lyne appeared as William Tell at his 
own benent. On nth November Mrs. Preston, had a bene- 
fit in " Lady of Lyons," when she assumed the rofe of 
Claude Melnotte to the Pauline of Miss Mowbray. Lyne was 
seen as Shylock, 30th, and the company was further enforced 
at this time by the addition of Messrs. H. F. Read, John Nick- 
inson, H. W. Smith, A. Muire, Mortimer, Charles D. Pitt, 
Misses Anna Howland, Fanny Wallack and Charlotte Nick- 
inson. Several of the old company left. "The Soldier's 
Daughter" was among the first pieces to be presented, and 
Lyne played Richard III., December 6. Anna ^Howland's 
first appearance was in "The Lady of Lyons," nth Decem- 
ber. On 30th December we find Lyne playing Shylock for 
the Garrick Club. He appeared on several occasions during 
the following month. By a strange co-incidence, the Hays' 
Theatre was destroyed by fire very shortly after the erection 
of its successor, the present Theatre Royal, seemingly not 
willing to outlive its usefulness, on 9th July the building 
was set on fire. The supposition at the time was that the in- 
cendiary was a soldier, who wished to vent his spite on Mr. 
Hays for some imagined wrong. This unfortunate act re- 
sulted in the destruction of 1,100 houses, rendering 8,ooo per- 
sons homeless, and causing damage to the extent of over a 
million of dollars. A small quantity of scenery was saved, 
including the familiar Windsor Castle scene drop-curtain, all 
of which was purchased by Mr. Joseph, and used at the new 
theatre; in fact, the curtain did duty until some years ago, 
when it was replaced by the presetn design. The Hermann 
Concert Company were giving aj performance at the time of 
the fire, and some of its members were injured in making their 

HENRY W. PRESTON was born in Ireland and was originally a 
hatter by trade. His real name was Patrick Hoy. He was divorced 
tinder his original name from his wife, Mrs. Nichols- He was a fair 
actor, but frequently did some strange things on the stage when un- 
der the influence of liquor. Once while playing Polonioits, the boys 
in the gallery became noisy, whereupon the Danish prime minister 
made a stirring appeal to " the dacency of those devils beyant." His 
end was tragic. He was seen on the night of 3rd April, 1859, stand- 
ing by the river at Albany, and on being asked why he did not go 
home, he replied : " I have no heme; the worms have holes to crawl 
into, but poor men are without shelter." A few minutes later a splash 
told the last of Preston. During his career he had managed several 

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FANNY WALIiACK was a daughter of Henry Wallack, and like 
all his family, picturesque in attitude and action. Her American debut 
was at the Chatham Theatre, New York, 23rd December, 1839. She 
died in Edinburgh, 12th October, 1856, not long after she became Mrs. 

CHARLES DIBDIN PITT, an English tragedian of considerable 
prominence, came to this country in 1847, remaining for four years. 
Returning to England, he became lessee of the Sheffield Theatre, until 
1866, when he died, 21st February, aged 47* 

THOMAS A. IiYNE was born in Philadelphia, 1st August, 1816, 
and made his first regular stage appearance at the Walnut Street The- 
atre there, in March, 1829, as William Tell. In 1835 he appeared in 
New York. 

Lyne made a nice little sum out of Mormon patronage, and by 
methodical investment managed to keep himself in comfortable cir- 
cumstances the rest of his days. Lyne was a very good actor of what 
has been denominated the " Forrest school." He passed away in 1890. 

The most interesting feature of 1851 was the opening of 
the Garrick Theatre in July by George Skerrett as 

skerrett's bandbox, 

with a very small company to be in keeping with a very small 
theatre. The orchestra comprised three pieces. 

Here, on 7th July, was begun a short season of comedy in 
which Mrs. Skerrett had opportunity of displaying her sou~ 
brcfte talents. 

On 1st July the Heron Family appeared at St. Lawrence 
Hall for two weeks, the ball-room being converted into a 
temporary theatre. Skerrett not finding that his "bandbox" 
afforded sufficient accommodation, leased the hall of the St. 
Lawrence Hall, and on 28th July presented to Montrealers 
the peculiar and eccentric comedian, Sir William Don, in 
"Used Up" and "The Rough Diamond." He re-appeared 
29th in "Pillicuddy." It was at this time that Barton Hill 
and his wife, Olivia Crook, made their first stage appearance 
in Montreal. On 4th August Mrs. Barton Hill made her 
first appearance in "The Serious Family." This company 
also included Mrs. Charles Hill. Several entertainments were 
given at the Odd Fellows' Hialil during the year. 

SIR WIIXIAM BON was a Scotchman, who stood six feet four 
inches in height. He first appeared in America at the Broadway The- 
atre in November, 1850. In 1857 he married Emily Sanders. Don 

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was a whole-souled but erratic genius, yet withal a very entertaining 
comedian, and had played in all the theatres of America, He died at 
Hobart Town, Tasmania, 19th March, 1862, aged 36. Lady Don died 
20th September, 1875. 


was in popular utilization at this epoch for concert purposes, 
and is specially referred to in these annals for having first in- 
troduced to Montreal the future great Patti, then in her ninth 
year. She was announced as "The Musical Prodigy, 
Adeline Patti," appearing in two concerts 3rd and 5th May, 
1852, given by Emma G. Bostwick, Signors R. Pico, Vietti, 
Mr. Ebben, flutist, and Herr Mueller, pianist. 


(Garrick) was used by the Canadian Amateurs throughout 
the same season. 

On 30th July John Wells, the architect, asked for tenders 
for the building of the new Theatre Royal on Cote street. The 
Hays' Theatre had become altogether unfit for the proper 
setting and production of plays, and it had become necessary 
that a better condition of accommodation should exist. The 


on the eastern side of Cote street, above Craig street, was 
completed early in 1852, and has always been the property of 
Mr. Jesse Joseph. It was built entirely of brick, had two 
galleries, and a seating capacity of about 1,500. A small 
quantity of scenery, including the old familiar drop-curtain 
representing Windsor Castle, was saved from the Hays' 
Theatre fire, and purchased by Mr. Joseph, the curtain doing 
duty until some ten years ago, when it was replaced by an- 
other design. 

John Wellington Buckland was the first lessee and man- 
ager. The Theatre was opened 31st May, 1852, by the cele- 
brated prima donna, Catherine Hayes, at the head of a concert 

Mr. Buckland managed the affairs of the house until 1869 
(at times represented by Ben De Bar), when John W. Al- 
baugh took the lease for one year, being succeeded in 1870 
by Buckland during the early part of the season, and by James 

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A. Heme during the latter part. Ben De Bar, represented by 
J. W. Albaugh, held the lease in the early part of 1871, and 
Kate Ranoe during the latter part. Mr. Buckland resumed 
1st January, 1872, for a short season. He died 20th Novem- 
ber of that year. In those days the pit (where the orchestra 
chairs now are) was the cheapest part of the house. It ex- 
tended clear from the stage to the back of the house, and the 
admission was two York shillings, or twenty-five cents. In 
June, Ben De Bar leased the house until the end of the year, 
when George Holman took up its management, 1st January, 
1873, closing in March. When Ben De Bar came on from 
New Orleans, he brought with him a number of new ideas, 
and proceeded to re-model the theatre. He abolished the 
twenty-five cent pit, and replaced it with orchestra chairs, and 
turned the family circle into the gallery ; then the noisy "pit- 
tites" became the "gods." Mrs. Buckland was the next 
lessee, under the management of Ben De Bar, for the remain- 
der of the year, resuming in 1874 with Harry Lindley as the 
manager. The same arrangement existed during 1875, and 
with the close of the season also closed Mrs. Buckland's long 
connection with the old house. She retired to private life. It 
was during the management of Harry Lindley that the 
"Montreal Dramatic Club" was organized, and gave occa- 
sional performances at the Royal. The officers of the Club 
were: J. B. Burland, director; Chas. Wand, business man- 
ager; Geo. Grant, treasurer; Geo. Franklin, stage manager; 
and Carl Thorbahn, band leader. Other members of the 
Club were: H. P. Gradbury, Harry Earle, Frank Williams, 
T. Brock, C. E. A. Patterson, David Battersby, W. Hamilton, 
P. Jones, W. Wilson, J. Jackson, Alf. Isaacson, Charles Ches- 
ter, Miss Kate Browning, Miss Laura Villiers and Miss 
Williamson. The prices of admission to the performances 
given by the Dramatic Club were : Boxes, $3 ; dress circle, 50 
cents; family circle. 37^ cents; and pit, 25 cents. 

We find George Holman lessee and manager during the 
1876 season, he continuing until the summer of 1878, when 
the management passed into the hands of O'Brien and West. 
J. B. Sparrow's name became first prominent as lessee and 
manager of this house, 8th Sept., 1879. He continued to be 
sole manager until the middle of January, 1884, when he be- 
came associated with H. R. Jacobs. Their subsequent suc- 
cess in catering to the public at such popular prices of 10, 20, 

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30 and 40 cents is well known, and has proved profitable in 
every respect to this day. Early in 1898 Mr. Sparrow again 
became sole lessee. 

With the season of 1900-01, the old Theatre Royal has been 
turned into a pretty playhouse. Beyond the fact that the 
walls and galleries are the same, the place is entirely new 
from top to bottom, and Mr. Sparrow commenced the 1900- 
01 season under auspicies that promised the most successful 
season he had ever known. 

There have been very few contemporary actors and ac- 
tresses of note who have not strutted and fretted their brief 
hours on this stage. 

With this preliminary, we shall now pass on to the detailed 
annals of this eventful house. 

Following* the opening, 31st May, 1852, by Catherine 
Hayes, a French Vaudeville Company appeared 1st June. 
Ole Bull, accompanied by Alfred Jaell, assisted by the German 
Musical Society, gave concerts 14th, 16th and 19th. A bene- 
fit performance in aid of the fire sufferers of a week before 
was given 14th July, the piece being "The Serious Family." 
Kate Horn (Mrs. Buckland) appeared as Widow Delmain, and 
Wm. P. Davidge as Amidol Sleek. The regular opening, 
however, was on 15th July, with Sheridan's comedy, "The 
Rivals." As the curtain rose on the first act, it revealed Mrs. 
Buckland in the character of Lydia Languish. 'Cast of charac- 
ters: Mrs. Malaprop, Mrs. Clara Fisher Maeder; Sir Anthony 
Absolute, Mr. Wm. P. Davidge; Lydia Languish, Mrs J. W. 
Buckland; Capt. Absolute, Mr. George Jordan; Bob Acres, Mr. 
Andrews ; Sir Lucius, Mr. Bland ; Faulkland, Mr. Trevor ; 
David, Mr. Thompson; Fag, Mr. Connor; Lucy, Miss West- 

In the season's company were also included: Mrs. Ponisi, 
Mrs. H. Bland, Miss Emily Lewis, Charlotte Nickinson, 
Annie Walters, Julia Gouid and Geo. W. Lewis, stage man- 
ager. Mr. Hilliard, a relative of Fanny Kemble, was the first 
scenic artist. During the performance, Julia Gould sang 
"Kate Kearnev," and Annie Walters danced "El Zapatedo." 

Prices of admission were, dress circle, 75c; family circle, 
50c; parquet, 25c; and private boxes. $5. The box office 
was at Herbert's piano store on Notre Dame street. 

Following the opening performance of "The Rivals," as 
already noted, was produced in the following order: "All that 
Glitters is not Gold," "The Heir-at-Law," "Married Life,' 

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"London Assurance," "The Rivals," ''School for Scandal/' 
"Lady of Lyons/' "The Ladies' Battle," ,4 Country Squire/' 
"She Stoops to Conquer," benefits were tendered Mrs. Buck- 
land, 7th August, in "The Ladi-es' Battle"; Mr. Davidge, 14th, 
in "Paul Bry"; Mr. Jordan, 19th, in "The Rent Day/' and 
"Robert Macaire"; Mr. G. W. Lewis, 21st, in "Rob Roy. 
This performance is memorable for the fact that it first intro- 
duced to Montrealers Wm. J. Florence, Charles Peters and C. 
M. Walcot. "Delicate Ground/' "Captain of the Watch," 
were subsequently staged. On 27th August Miss Nickinson 
had a benefit, and the season closed 28th with a benefit to Mrs. 
Buckland in "Mons. Jacques'' and "Follies of a Night/' to- 
gether with the travesty of "Antony and Cleopatra.'' 

JOHN WELLINGTON BUCKLAND died in this city 20th No- 
vember, 1872, aged 57. He was born in London and was one of a 
family of twelve sons and six daughters. He was a graduate of Hei- 
dleberg, and spoke French and German with the same facility as he 
did English. His father held an important position in the financial 
house of Rothschild, and he himself began his business career under 
the auspices of that firm. He was shortly afterwards transferred to 
Quebec with one of the partners, and was before long in the employ 
of Pembletcn Bros., of that city. After remaining with that firm sev- 
eral years he went to Buffalo and first embarked on an independent 
career in association with one Brown, under style of Brown, Buck- 
land & Cc. He was then married to Miss Kate M. Horn, who was 
ever to him the tine and faithful partner, not only of his gains, but 
also of his labours. He went to New York where he became a mem- 
ber of the banking firm, Buckland, Brown, Truscott, Greene & Co. 
Here he met Mr. Corbin, who had intended to be the lessee and man- 
ager of the Theatre Royal, and negotiated a loan to the latter, but 
Corbin was unable to finance the matter any further, and in order to 
save himself Mr. Buckland assumed the lesseeship of the theatre as 
noted. His wife, Kate M. Horn, was a charming actress, and had 
then been a member of Wallack's Stock Company for some years. It 
was in that way that a number of that company were induced to come 
to Montreal during the summer season, and, the first venture proving 
profitable, the company repeated its visits during several following 
seasons. When the Bucklands came to the city, Montreal was a gar- 
rison town, and among the officers was a Major Lye, who was a cou- 
sin to Mr. Buckland. The major, therefore, introduced Mrs. Buck- 
land to his brother officers as his " American coucin," and it is said 
that this was how the play of that name, in which Sothern made the 
great hit in the character of Lord Dundreary, got its name. 

He was a man of retiring habit and exceedingly grave demeanor, 
while Mrs. Buckland was of a sprightly disposition and a great talker. 
When she would say to him, " John, why don't you talk more ?" he 
would answer. " Why, Kate, you talk enough for both of us." 

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MRS. BUCKLAND (Kate Horn), first apeared on any stage as 
Miss Neville in the " School for Scandal " when she was under six- 
teen years. She had been left an orphan at this early age, and had 
gone on a visit to Charleston, N.C, with a Mrs. Tim, a soubrette, 
whose husband was a musical conductor, where she appeared as 
stated. Her first regular engagement was with the Park Theatret 
New York, where she was the companion and friend of Mrs. John 

On January 20, 1842, she appeared at Mitchell's Olympic, as Sophia 
in "The Rendez-vous." Her first appearance at the old Park Theatre 
was March 24, 1845, as Seraphina, in " Fashion." She first acted in 
Philadelphia, August 26, 1850, at the Walnut Street Theatre, as Helen 
in " The Hunchback." Clara Fisher Maeder. Mrs. Buckland, George 
and Annie Jordan and William Davidge were in the stock company 
that first acted at Eroughain's Lyceum, December 23, 1850. Geo. C. 
Jordan, Charlotte Cushman, Emma Skerrett, Clara Fisher Maeder, 
Mary Taylor and others, were in the company. On April 25, 1852, 
she acted Helen in *' The Hunchback," at Barnum's Museum, for the 
benefit of H. F- Daly. As Helena in " A Midsummer Night's Dream." 
on February 3, 1854, she appeared at Burton's Chambers Street The- 
atre. She commenced at the old Broadway Theatre, New York, 
September 17. 1855. as Lady Anne to E. L. Davenport's Richard, and 
on February 18, 1856, she played Geraldinc in " Heme, the Hunter," 
at the same theatre. She was considered one of the most beautiful 
women on the stage, and in company with Charlotte Cushman scored 
many brilliant triumphs. She was the only member of her family who 
adopted the stage. 

After the death of her husband, Mrs. Buckland lived a retired, quiet, 
but happy and contented life. She loved to talk over the scenes and 
trials of her active life on the stage, and it was one of the greatest of 
pleasures to hear her recite the scene from " London Assurance," 
where Lady Gay Spanker describes how the race was won. The vim 
and spirit she would put into it, even in comparatively recent years, 
would carry the memories of her old admirers back to the fifties when 
she was in her prime. A story is told cf Mrs. Buckland's great spi- 
rits when a young woman. While in a furniture store on Broadway, 
Miss Horn very much admired a l?rge easy chair, which a gentleman 
friend offered to purchase for her if she would carry it down Broad- 
way to her home. Miss Horn accepted the offer, and won the chair, 
after exciting the curiosity of hundreds of pedestrians. Mrs. Buck- 
land died 10th September, 1896, at Strong's Hospital. She left $ 14,000 
to various Montreal charities. 

JULIA GOULD, who sang " Kate Kearney " on the opening night 
of the Theatre Royal here, was born in London, 1827, and was first 
seen in opera in 1840. After coming to America she was seen in all 

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as Lydia Languish. 

From a daguerreotype in the Walla ck collection. 

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parts of the country, and in i860 joined Buckley's Minstrels. She 
went to California in 1864. 

ANNIE WALTERS, w ho danced " El Zapetedo," on the opening 
night of the Theatre Royal, married Geo. C. Jordan in 1858, and was 
very soon afterwards divorced. 

CATHERINE HATES was born in Limerick, Ireland, in 1820. and 
was called "the Irish Swan." She showed marvellous talent and 
power of song as a child, and was given a good early training. Her 
debut in opera was at Marseilles in 1845, when she sang in "Les Hu- 
guenots." In 1846 she was heard at Vienna, and in 1849 she made her 
first aopcarance at Covent Garden, coming to America in 185 1 at the 
head of a concert company. While here she was engaged by P. T. 
Barnum to give sixty concerts during an Australian tour for a consi- 
deration of $50,000. She died in 1861. 

OLE BORNEMANN BULL, one of the earliest attractions at the 
Theatre Royal, was born at Bergen, Norway, 5th February, 1810. 
His career as a great violonist began in his twentieth year, and his 
1853. His tours were very profitable, and he made a great deal of 
1853. His tours were very profitable, and he made a great deal of 
money, all of which he lost in an attempt to found a Scandinavian 
colony in Pennsylvania. He was considered half genius, half charl- 
atan. He died 17th August, 1880. 

WILLIAM PLEATOR DAVIBGE was one of America's repre- 
sentative comedians. He was born in London, 17th April, 1814. His 
debut was at Nottingham in 1836. In 1842 he married Elizabeth Clarke, 
an actress. His first appearance in America was at the Broadway 
Theatre, 10th April, 1850, as Sir Peter Teazle He remained there five 
years and then in various stock companies. From Wallack's he join- 
ed Daly's in 1869, remaining eight years. He was the original Dick 
Dcadeye in the first New York production of " Pinafore." His last 
engagement was with the Madison Square Theatre Company. His 
book, " Footlight Flashes/' is well known. Mr- Davidge died 6th 
August, 1888, in a passenger car while en route to California to fulfil an 
engagement. * 

GEORGE JORDAN was a capable and pleasing actor, and when he 
first appeared here was the very pink of an Adonis, enchanting the 
hearts of the ladies. He was born in Baltimore in 1830, and began 
life as a printer, subsequently making his first appearance at the Mus- 
eum under the management of John E. Owens. He made a very fav- 
orable impression in 1852, when he came to Montreal. Mr. Jordan 
afterwards met with success in England. He died 14th Nov-, 1873. 

HUMPHREY BLAND, an English actor, born in 1812, came to 
this side in 1844, making his debut at the Park Theatre, New York. His 

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appearance in Philadelphia was in 1850, where, at the Arch Street 
Theatre, he played Joseph Surface. He was thrice married. Harriet 
Faucit, his second wife, died in 1852, and in August, 1853. he was mar- 
ried to Emily Lewis. Mr. Bland died 17th January, 1869. 

GEORGE W. LEWIS died at sea in January, 1853, aged twenty-six. 

MADAME PONISI (Mrs. Elizabeth Wallis), an estimable lady and 
talented actress, was born at Huddersfield, England, isth December, 
1818, and at an early age made her debut on the stage at Barnard 
Castle, as Amy in " Father and Son." She acted several years in the 
English provinces before reaching London. 

Madame Ponisi arrived in this country September 22nd, 1850, and 
faced the American audience for the first time, October 7, 1850, at the 
Walnut, as Marianne in " The Wife." After playing a week in Phila- 
delphia she went to New York, and at the Broadway Theatre, Novem- 
ber 11, 1850. made her metropolitan debut, playing Lady Teazle to the 
Charles Surface of Sir William Don, who had then but recently made 
his American debut. Mme. Ponisi was successful at the Broadway in 
such a measure that she was at once given leading business, and that 
position she held almost continuously until the old house was torn 
down in 1859. She joined Wallack's Theatre, making her first ap- 
pearance as a member of the stock company at that house, November 
13, 1871, as Tabitha Stork in "Rosedale." From that time the history 
of Mme. Ponisi's career was wholly identified with that of the Wal- 
lack Stock Company. 

From time to time she appeared at other houses, notably at Booth's 
Theatre, April 2. 1877, supporting John McCullough. Madame Ponisi 
was married in England prior to 1848 to James Ponisi. She was di* 
vorcei from him towards the close of 1858 (he died some years ago), 
and in Feb., 1859, she married Samuel Wallis, the property man, with 
whom she lived happily until his death, November, 29, 1884. 

She retired from the stage in 1892, and died in Washington, 21st 
February, 1890. 

H. B. PHILLIPS died September 26, 1896, in Brooklyn, N.Y. He . 
was born May 19, 1819, at Charleston, S.C. In 1828 his parents moved 
to New York. 

In 1837 Phillips was treasurer for C- R. Thome, sen., at the old 
Franklin Theatre, Chatham Square, N.Y- He made his first appear- 
ance on the stage for Mr. Thome's benefit, as Abnco* in " Pizarro." 
He was at the Astor Place Opera House when the Macready riot oc- 
curred. When Brougham's Lyceum opei;«d he went there, where he 
remained for ten years. Curing the summer months of that period 
he managed the Theatre Royal, Montreal, for J. W. Buckland. At the 
time of President Lincoln's assassination he was acting manager of 
Ford's Theatre. He then took to playing old men roles, in which line 
he continued for many years. In 1853, he married Mary Taylor. He 
was the father-in-law of Kate Castleton. 

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was preceded, week 20th June, by Italian Opera. Mr. Buck- 
land was manager and lessee, and Charles Walcot, stage man- 
ager. The company was again a powerful one, comprising 
Messjrs. Davidge, Chas. Fisher, F. Chippendale, F. A. Vincent, 
jun., F. B. Conway, Crocker, Reynolds, Gilbert, H. B. Phil- 
ips, Tyle, F. Lyster, Jackson, Bernard, Denman, Thompson, 
Chas. Reed, machinist, Mr. and Mrs. Chas. Walcot, Mrs. 
Conover, Mrs. George Vernon, Mrs. Howard, Mrs. F. B. 
Conway, Mrs. Buckland and Annie Walters. The open- 
ing was 7th July, when Fred. B. Conway was first seen in 
Montreal, in the character of Alfred Evelyn in Lytton's 
"Money," with Davidge as Stout ; Mrs. Conway as Clara 
Douglass; and Mrs. Vernon as Lady Franklin. The following 
pieces were successively presented: "The Hunchback/' "The 
Stranger," in which Mr. Crocker was seen as Count IVintcrson; 
" London Assurance," " Naval Engagements,'' " Black-Eyed 
Susan," " Othello/' " The Rivals/' " Merchant of Venice," 
"School for Scandal/' "Rob Roy/' "Paul Pry." On nth 
August, Conway had a benefit in "Macbeth/' on which occa- 
sion Charles Wheatleigh made his first bow to Montreal. Mr. 
and Mrs. Conway closed 13th, when Mrs. Conway had a bene- 
fit in "Hamlet/' Mr. Hale made his first appearance in this 
production. Subsequent productions followed of " Don 
Caesar de Bazan," "Katherine and Petruchio," "The Golden 
Farmer," and "Hamlet," 25th, for a benefit to Mr. Wheat- 
leigh. The season closed 27th August, but re-opened for a 
short time in September, in order to present Agnes Robertson 
and her husband, Dion Boucicault. Their first appearance in 
Montreal was the event of the season, anl also marked the 
first appearance of Miss Robertson in America. 

AGNES ROBERTSON commenced her theatrical career in her 
thirteenth year at Hull. She was born at Edinburgh on Christmas 
day, 1833, and, before she was eleven years of age, gave public con- 
certs. She eventually became a protege of Mr. and Mrs. Chas. Kean, 
first appearing at the Princess Theatre in January, 1851, as Ncrissa- 
In January, 1853, she married the celebrated dramatist, and in the 
spring crossed over to America, opening in Montreal. Her success 
became phenomenal, tickets being sold as high as five and six dollars, 
and such was the enthusiasm ?he created among the ladies of Boston 
that her promenades through the streets were beset with crowds fol- 
lowing her, while the corridors of her hotel were blocked with fair 

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admirers. She appeared chiefly in roles cut out especially for her by 
her husband. The talented couple subsequently separated as man and 
wife. Miss Robertson was a graceful and intelligent actress of natural 
and sympathetic^ power, with an abundant fund of delicate humor and 
touching pathos. 

The name of 

BIONYSIUS LARDNER BOUCICAUXT is a strong one in the 
list of the present century's dramatists. He was born in Dublin, 26th 
December, 1822, educated at University College, London, and be- 
came world famed in his nineteenth year as the author of "London 
Assurance/' He also obtained some distinction as an actor. In . 
i860 he produced the " Colleen Bawn, M which was the first of several 
popular Irish dramas. He wrote more than 140 original pieces and 
adaptations. He last appeared at the Academy of Music, Montreal, 
week of 20th December, 1886, in his own play of "The Jilt," supported 
by his second wife, Louise Thorndyke, whom he married in Australia 
9th September, 1885, having deserted Agnes Robertson about 1879. 
He died in New York, 18th September, 1890. 

FREDERICK CHIPPENDALE, son and grandson of famous act- 
ors, is the grandfather of those clever artists, Affie. May and Leon- 
ore Warner, daughters of Mr. and Mrs. Neil Warner. A family of 
actors and actresses for four generations! 

The direct subject of this sketch informs me that he was born 
in 1820 at Ayr, Scotland. His rather, William H. Chippendale, who 
died 5th January, 1888, at the ripe age of 87, had the distinc- 
tion of having played the role of the old courtier, Polonius, to the 
Hamlet of Edmund Kean, John P. Kemble, Chas. M. Young, Henry 
Johnston, Macready, John Vandenhoff, Chas. Kean, Barry Sullivan, 
Forrest, Edwin Booth, Win. Creswick and Henry Irving. He was 
the son of a capable and well-known actor, and was himself an artist 
of rare ability and intelligence- His wife, Mary J. Snowdon, began her 
professional career in 1855. Frederick Chippendale was always re- 
garded as a most finished and reliable actor, his special forte having 
been in the " old men " of the knickerbocker order. During a long 
career in this country he supported all the leading celebrities of his 
day. His daughter, Belle Chippendale, married Neil Warner in 1874. 
Mr. Chippendale retired from active service a few years ago, owing to 
his having become quite deaf. The veteran is in otherwise perfect 
health, and is a merry member of that happy and select community at 
the Forrest Home, Holmesburg, Pa. 

DENMAN THOMPSON was not the celebrated actor he is to-day 
when he was first seen on the Montreal stage; neither has he visited 
the city for many years, for reasons best known to himself. His real 
name is Henry D. Thompson. He was born at Beechwood, Erie 
County, Pennsylvania, 15th October, 1833, his parents being farmers. 

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In 1850 he went to Boston to find employment, and there joined 
Troyon's circus as property boy. In the course of the season he 
rode in the opening pageant and developed ability as an acrobat. Dur- 
ing the winter of 1850 he made his first stage appearance as a super- 
numerary at the Howard Athanaeum, Boston. For a while he work- 
ed in his uncle's dry goods store at Lowell, Mass. In 1852 he appear- 
ed as the Oarsman in " The French Spy," at the Lowell Museum, and 
after that acted for a season at Worcester, Mass. Then he became an 
itinerant player, belonging at different times to wandering companies. 
In 1856 he was a member of the Royal Lyceum Theatre at Toronto, 
Canada. In 1862 he went to England, hoping to secure a chance to 
play Salem Scuddcr in " The Octoroon ." Failing to obtain the en- 
gagement, he returned to Toronto, and acted there till 1868, when he 
again appeared with travelling companies- It was while confined to 
his bed in Pittsburg with an attack of rheumatism that he conceived 
the idea of playing a Yankee character The result was his appear- 
ance at Harry Martin's Varieties in Pittsburg, in February, 1875, in a 
twenty-five minutes' sketch called "Joshua Whitcomb." The title of 
the sketch is a combination of the Christian names of Mr. Thompson's 
great uncle, Josh, and of General Whitcomb, a well-known character 
at Swansea. After " Joshua Whitcomb " had run its successful career 
from Maine to California, a new version of the play was written and 
called " The Old Homestead," which attained equal success, and ran 
for a number of seasons. The play has been several times produced 
here, headed by Archie Boyd. 

CHARLES PETERS was born in Birmingham, England, 15th 
April, 1825, and came to America in the fall of 1849. His first engage- 
ment was at Niblo's in 1850. He moved about for some time, and in 
1852 we find him touring Canada under the management of his father- 
in-law, John Nickinson, having as companions his brother-in-law 
(Chas. Melton Walcot, jun.J and W. J. Florence. In 1858 he was the 
original Binney in "Our American Cousin," just played in Laura 
Keene's Theatre at New York, 18th October of that year, running 
until the 19th of March, 1859. On the 4th of October, 1864, Mr. 
Peters was accidently run over by a Third avenue car at New York, 
receiving serious injuries, but recovered, and realized some $4,000 
from a benefit performance tendered him by professional friends. 
He died on the 2nd of November, 1870, leaving a widow, who is still 
on the stage, as well as a daughter, Maud, and son, Frank. By this 
marriage with Eliza Nickinson he became brother-in-law to Owen 
Marlowe and C. M. Walcot, jun. Charles Peters was a cousin to Mr. 
John Peters, the genial cashier of Messrs. R. G. Dun & Co., Mont- 

FEIiIX A. VINCENT was born in London in 1831; came to Bos- 
ton, Mass., in 1849, and was known as a good stock actor. 

FREDERICK BARTXETT CONWAY was what is called a good 
"all-round" actor. His Evelyn in "Money" was one of his best im- 

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personations and he was considered the best John Mildmay, in "Still 
Waters Run Deep," on the American stage. He also gave an excellent 
characterization of Armand in "Camillc." He was fcern in London, 
1819, made his debut at Birmingham in 1839, and, after achieving a re- 
spectable success in England, came to New York in 1850, when he 
opened as Charles Surface. In 1852 he married Sarah Crocker, and 
together they starred throughout the States until i860, when they 
visited England* and were well received. They returned in 1863, and a 
year later Conway became lessee of the Park Theatre, Brooklyn, which 
he successfully managed until the time of his death. He died 7th Sept., 
1874, at his summer residence, Manchester, Mass. 

MRS. F. B. CONWAY, nee Sarah Crocker, was a sister of Mrs. D. 
P. Bowers. Her first appearance in New York was at the National 
Theatre. Col. Brown says she was one of the best actresses of her 
time, being gifted with an intellect of strong analytic power, sufficient 
to fit out half a dozen leading ladies. She died at Brooklyn, 25th 
April, 1875. 

Lester Wallack tells a good story of Conway, who was once ap- 
proached in a very familiar manner by Goffee, an " acrobatic mon- 
key," whom he had known in former years. "Suppose we 'ave a bene- 
fit together/' said Goffee: "you do a Roman part and I'll do my scene 
as the hape between the hacts, ai d we'll draw lots of money." Con- 
way, who always stood upon his dignity, lost all patience, and retort- 
ed : " Sir, I have endured the ups and downs of life in my time, and 
have met with various indignities. I can stand a great deal, but Cato 
and a ring-tailed monkey — never." 

CHARLES FISHER was born in London, 1816, and after a good 
apprenticeship on the English stage, came to America in 1844, where 
he was welcomed at Burton's Theatre. He took high rank from the 
first. In 1858 he visited London, playing a brief engagement there 
and in Dublin. On his return he joined Wallack's company, remain- 
ing twenty years, when he became a member of Daly's company, 
with which organization he was associated until his retirement from 
the stage, a short time prior to his death, which occurred nth June, 
1890. He will be remembered as a genial and courtly gentleman, of 
whose character nothing could be said save in praise, and in whose 
personality the predominant features were sweetness and gentleness. 

MR. and MRS. WALCOT.— Mr. Walcot is sixty-three years old 
and a native of Boston. His father was an actor before him, and 
the son began as an amateur when he was seventeen and a student 
at St. John's College, Fordham. He went on the professional stage 
as soon as he graduated, and has played so many different parts 
that he has never tried to set down the sum of them. While at 
Laura Keene's Theatre in New York, forty years ago, he was mar- 
ried to Isabella Nickinson, daughter of the comedian, John Nickin- 
son. She was only sixteen at the time, having been on the stage six 

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During their long career the Walcots have taken part in some mem- 
orable performances. In 1846 they played Cassius and Calphurnia re- 
spectively, in the New York production of " Julius Caesar," contain- 
ing in the casts the three Booths— Edw.n. Junius Brutus and John 
Wilkes. Soon afterwards they were Horatio and Ohhelia in Edwin 
Booths record-breaking hundred nights run of "riamlet" at the Win- 
ter Garden. Mrs. Walcot was the Lydia Languish the first time Mrs. 
John Diew would consent to play Mrs. Malaprop in " The Rivals." 

The Walcots are sterling- artists, both. There is a rugged strength 
in their method of acting that makes the most trifling part convincing. 

IDA FISHER VERNON was an actress deserving of more than 
passing attention. She was born at Brighton. England, in 1796. Her 
maiden name was Jane Merchant Fisher, she being a sister to Clara 
Fisher, who made her first Montreal appearance in its early stage his- 
tory. Mrs. Vernon came to America in 1827, making her debut at the 
old Bowery Theatre, New York, nth Sept.. as Cicely Homespun in the 
"Hfir at Law." She married George Vernon 6th October, and sub- 
sequently becoming a member of the Wallack Co., remaining until 
5th April, 1869, when she appeared tor the last time in the mimic scene 
as Mrs. Sutcliffe in " School. She was a lady of extraordinary intel- 
lectual endowments, of the purest morality and refinement. She died 
in New York, 4th June, 1869. 

CHARLES WHEATLEIGH was not a great actor, but was artis- 
tic in his methods and capable. He died in New York. Feb. 14. 1895. 
Mr. Wheatleigh was born in London, and from his earliest recollec- 
tions had a tendency toward the stage. His debut took place in 
Brighton, where he was favorably received as Romeo. His first Lon- 
don appearance was in September, 1848, at the Marylebone Theatre, 
as Captain Cleveland in "Is She a Woman?" The following year he 
came to this country, and was for a long period identified with the 
management of the Lairds. His first appearance in New York was on 
August 31, 1852, at Niblo's as Doricourt in " The Belle's Stratagem" 
Several years afterwards Mr. Wheatleigh joined Mr. Daly's company. 

The principals of 


were Messrs. Fisher, Cunningham, Stoddart, Jordan, Hale, 
Stewart, J. Moore, Miss Marv Gannon, Mrs. Maeder. Mrs. 
Stewart, Mrs. Hale, Miss Walters, Mrs. Lebrun and Mrs. 
Buckland. Mr. Moore was stage manager, and, as hereto- 
fore, Mr. Buckland lessee and manager. The regular season 
opened 31st Mav with Kotzebue's "Stranger,'' Jordan in the 
titular role and Mrs. Buckland in the vis-a-vis character, Mrs. 
Hatter. The following plays were staged during the season : 


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"Loan of a Lover," ''The Lawyers/' "The Poor Gentleman," 
"Lady of Lyons," "The Hon'eymoon/ > "Black-Eyed Susan," 
" Merchant of Venice, ' " State Secrets," " The Gamester," 
" Rent Day," " Richard III/' " Sir Cupid," " Othello/' with 
Fisher as the Moor and Jordan as Iago; "London Assurance/' 
"Wild Oats," "Love Chase/' "Rob Roy/' "School fo.r Scan- 
dal/' "Hamlet," with Jordan as the Dane; "The Hunchback/ 7 
"Macbeth/' "Sweethearts and Wives," "Paul Pry," "The 
Iron Chest," "Corsican Brothers" (its first production here); 
" The Rivals/' " Money/' 26th July, for, Jordan's benefit ; 
"Love's Sacrifice/' "Mary, Queen of Scots," 29th, and "As- 
modeus," 30th, for Fisher's benefit, closed the season. Several 
transient companies subsequently appeared, but were of little 
importance. On 20th September Frank S. Chanfrau made 
his first Montreal appearance in "Toddles ' y and "The Stage- 
struck Darkey." Mrs. Buckland and Mile. Albertine also 

FRANCIS S. CHANFRAU was born in New York, 1824. He 
made his first hit as Jerry Clip in " The Widow's Victims," and follow- 
ed this with " Mose, the Fireman," but his most permanent success 
was as Kit in " The Arkansas Traveller." In 1858 he married Hen- 
rietta Baker, one of the most refined and intelligent actresses on the 
stage. He died 2nd October, 1884. 

CHARLES B. HALE , a useful and reliable stock actor, was born 
in England 23rd June, 1819, and first appeared on the stage at Here- 
ford, as Thessalus in " Alexander the Great." His metropolitan debut 
was in 1849, and his first American appearance was in 1852, at the 
Broadway Theatre, New York, as Sam Warren in " The Poor Rela- 
tion." He died 29th January, 1893. His wife, Charlotte France, died 
6th December, 1865. 

MART GANNON was born 28th October, 1829. and went on the 
stage in her third year. In her tenth year she appeared in a company 
of children in " Gulliver in Lilliput." She rose in the profession step 
by step until she became the comedienne of Wallack's company. Her 
last appearance on the stage was 27th January, 18^8, when she had 
great difficulty in performing her part, and on 22nd February follow- 
ing she died. 

JAMES HENRY STODDART is the second son of an equally 
famous actor of the same name. Born at Barnsley, Yorkshire, 13th 
October, 1827, he received strict schooling in the Scotch fashion. His 
theatrical career began at the Theatre Royal, Glasgow, under the tutel- 
age of his father. At eighteen he left that city and became a stroller 
until 1853, when he came to America. He joined Wallack's company 

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first, and then various other stock organizations. He was a character 
actor in every sense of the word, and a roll-call of his impersonations 
alone would fill a column. Mr. Stoddart married the lady favorably 
known as Miss Canover. In Sept., 1901, Mr. Stoddart began a 
prosperous tour in Rev. Dr. Watson's 'The Bonnie Brier Bush." 
In his long career he has given no better picture that that of the 
hard, religious, upright old Scotchman, strong in his faith, and then 
broken in his sorrow. It is an interpetation artistic in every way, 
perfectly consistent, and signally successful. 

Those who figured during 


were W. R. Blake, Wm. P. Davidge, F. S. Chanfrau, Chas. 
Peters, Jas. Bennett, John T. Sloan, Harry Hall, Mr. and Mrs. 
John Wood, Mr. and Mrs. F. B. Conway, John Brougham, 
Morris Barnett, C. Fisher, Mary Agnes, Miss Albertine, Miss 
Reignolds, Mrs. Hate and Mrs. Buckland. The regular open- 
ing was the 4th June, with a production of the comedy, 
"Legerdemain," introducing Harry Hall, an English actor, 
and Mrs. Buckland. W. R. Blake opened a short season, 
18th, in "School for Scandal/' "The Rivals," "Heir-at-Law/' 
and Davidge opened for six nights, 9th July, in a round of 
comedies. Mr. and Mrs. F. B. Conway were seen, 16th, in 
"Macbeth," followed by "Hamlet," "Othello," "Ingomar," 
"Willow Copse/' The event of the season was the first ap- 
pearance of the English tragedian, James Bennett, who 
opened 13th August as Shylock; Sir Giles Overreach, 14th; 
"Damon and Pythias/' 15th; "Richard III./' 16th; "Hamlet," 
17th; and "Pizarro," 18th. Mr. and Mrs. John Wood ap- 
peared 20th. The season closed 8th September, when was 
produced "A Model of a Wife." MacAllister, the magician, 
appeared shortly after for a few nights. 

Kate Reignolds, in her recollections, has been pleased to 
refer to Montreal in an interesting and favorable manner : — 

"Canada was always a delightful place to visit. My first trip thither 
was under the care of Mrs. Buckland, to play in Montreal. My last, 
a happy halcyon month in fascinating Quebec, hospitably entertained 
by Consul Howells and his pleasant family. The French element 
makes a delightful, sympathetic and discriminating audience, but the 
English military, when they were garrisoned in Canada, were the most 
valuable patrons of the theatre. The officers in Montreal had private 
theatricals all the winter, under Mr. Buckland's management, ivhich 
naturally placed them on the most friendly terms with him. so that in 
his summer season they strolled into his box, or office, and had entree 
behind the scenes. At one time, when I was in Montreal, both the 

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famous Guards regiments had their quarters at St. Lawrence Hall, 
and half the mess were men of title. A benefit night under "patron- 
age " was a pretty sight; red coats in the pit, officers in the boxes; 
English women looking as only English women do in full dress, and 
the band of the regiment massed in the orchestra." 

MR. and MRS. JOHN WOOD.— He was an Englishman, and 
first appeared on the stage in boyhood. He married in early life, and 
he and his wife played their first important engagement at Man- 
chester. His Touchstone and her Audrey were well liked. Their 
American debut was nth Sept., 1854. at Boston, he as Bob Acres. They 
visited California in 1859, and afterwards separated as man and wife- 
He died in Vancouver, 28th May, 1863. 

Mrs. Wood (nee Vining), after accompanying her husband to Cali- 
fornia in 1859, became the manageress of the American Theatre in 
San Francisco, and in i860 also that of the Olympic Theatre, New 

In 1859-60 she was associated with Mr. Jefferson at the Winter 
Garden, when that house was under the management of Boucicault 
and Stuart. Here it was that Jefferson first played Caleb Plummer to 
the Tilly Slowboy of Mrs. Wood in Boucicault's version of "The 
Cricket on the Hearth." Six years later she returned to London, but 
again visited America in 1871-2, and afterwards managed the St. James 
Theatre, London. 

MACAIXISTER, the magician, first visited New York from 
Havana in 1849, and was subsequently seen all over the United States 
and Canada. He died, 1st Sept., 1856, at Keokuk, Iowa. His young 
widow then married J. M. Weston, and died in 1859. 

KATE REIGNOLDS was born in England in 1832. Her grand- 
father was a staff officer of Wellington at Waterloo, where he lost his 
life. She was first regularly introduced to the stage by Forrest as 
Virginia in New York- Her first husband, Henry Farren, died in 
1857. In i860 she married Erving Winslow, of Boston, and has since 
lived in retirement. She still resides (1900) in Boston. 

MILE. AI4BERTINE, a prime favorite for many years as a clever 
dancer, in time became forgotten. She lived for some years in desti- 
tute circumstances in New York, unable to follow her vocation owing 
10 total blindness. She died 6th Oct.. i88q. at New Bedford. Mass. 
Her first public appearance was made in Philadelphia, 15th March, 
1850, at the Arch Street Theatre. 

JOHN BROUGHAM was born in Ireland. 1810. and first appeared 
before the public in 1830. Keese in his life of Burton, says: "He 
possessed exuberant vitality, keen sympathy and appreciation, rare 
personal magnetism, and you have before you glorious John, whose 
hearty voice it was always a pleasure to hear. His Sir Lucius O'Trig- 
ger was famous. He died in New York, 7th June, 1880. 

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JOHN THOMAS KENT SLOAN, born in England, 4 th March, 
1813; died in Liverpool 20th May, 1861. First appeared on the stage in 
1832, and ten years later made his London debut at Drury Lane. He 
came to America in 1849. 

JAMES BENNETT was not a distinct success in this country. Col- 
Brown describes him as being below the medium height and in gen- 
eral appearance reminding one of FeLhter. He had the ungainly 
stage walk of Sullivan and Irving, as well as a painful rolling of his 
eyes. On his second visit to America in 1871, he was specially en- 
gaged to play Richard III. in a grand spectacular production at Niblo's 
10th April, but was a lamentable fiasco, although supported by a very 
powerful company. After the first week, Neil Warner played 
Richard, which enjoyed a run of three weeks. 

At the outset of Barry Sullivan's career, he and Bennett were once 
brought into close rivalry under one management, to the eventual 
defeat of Sullivan. Many years later, during a London engagement 
Sullivan met with an accident, and an understudy assumed his role of 
Glcster. He was a wan, grizzled and wistful looking man. No one 
appeared to know him. Approaching a group of old friends in a 
restaurant after the performance, he surprised them by asking if they 
did not remember— James Bennett. "Ah, well," he muttered bitterly, 
"no one knows Bennett now !" In 1888 Sullivan was striken with 
paralysis- About the samr time Bennett became totally blind. Hap- 
pily he quickly passed from pain to peace. 

Mr. Buckland opened 


in the middle of May. He had been very unfortunate in his 
management of the Howard Atheneum, Boston, and the 
Montreal season, which closed in August, was even more un- 
profitable. The company from Quebec under the manage- 
ment of Henry Farr^n was seen in Montreal during the sea- 
son. It included: F. Lyster, basso; Francis Trevor, tenor; and 
Rosalie Durand, prima donna, in operatic efforts; and there 
also appeared, Messrs. Donaldson, H. C. Ryner, Henry C. 
Jordan, Mrs. Jordan and Fanny Morant. 

An autumn season was inaugurated by Mr. Buckland, 
when Celia. and Olive Logan appeared with much success 
which was repeated in Quebec, compensating the manager 
somewhat for the losses he had sustained earlier in the season. 

MORRIS BARNETT died in Montreal, 18th March, 1856. a*ed 

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The following season also passed without much interest 
being taken by the public in theatricals, and the management 
was not encouraged to provide sufficiently strong star attrac- 
tions to draw our ever over-exacting public. 

in 1857 

Mr. Belton was acting manager. The most important ap- 
pearances, during a short season, were those of Kate Reig- 
nolds, and James Bennett, the English tragedian. The latter 
appeared in a round of Shakespearean characters, beginning 
10th August. Mr Belton also undertook the management of 
the Quebec Theatre, which had a short and unprofitable 

Kate Reignolds records that she had a narrow escape from 
death after terminating her Montreal engagement in 1857. 
Fearing that she had taken a wrong train, she, in a moment 
of excitement, jumped off, and, upon being picked up, was 
found to be badly bruised. 

F. E. BELTON was an Englishman of considerable managerial 
experience. He was the brother-in-law of Richard Graham, the 
tragedian. After a short sojourn in the United States, where he 
was for a time identified with the Boston theatre, he returned to 
England, and became manager of the Exeter theatre. 


was most notable, bringing Charlies Mathews before a Mont- 
real audience for the first time, in "Cool as a Cucumber," "A 
Game of Speculation," and "Trying it On." This was ist 
June, on the night of the regular opening for the season. H. 

B. Phillips was tine stage manager. The famous comedian 
closed 26th, in "Madeline." 

Mr. and Mrs. Sloan appeared in "Jessie Brown," 9th June, 
and, on 14th, Miss Angela Sefton made her first appearance 
in "The Dumb Boy of Manchester." Her father, John Sef- 
ton, appeared with her. The favorite, Jane Coombs, made 
her first bow here, ist July, in "The Lady of Lyons." "The 
Sea of Ice" was staged 7th. 

Mrs. Buckland made her second appearance this season, 
8th, as Calanthe, in " Damon and Pythias," supported by 
Messrs. Elmore, Phillips, Loveday, Stoddart, Selwyn, Barrett, 

C. Hale, Josephine Manners and Mrs. Sylvester. Charles 
W. Couldock first appeared here 12th July as Luke Fielding, 
in "The Willow Copse." He plaved a round of legitimate 
characters, and closed 17th in "Othello." On 22nd was 

staged "The Courier of Lvons." 

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Mr. and Mrs. D. W. Waller began, 26th July, in "Lady of 
Lyons," following in "Hamlet/' "Macbeth,'' and "Patrician's 
Daughter," closing a successful week, 31st, with " Castle 

Beginning 2nd August, came E. Blanchard's Canine Para- 
dox ; and on 16th Sallie St. Clair appeared in "The French 

George Vandenhoff was heard in Shakespearean readings 
at the Mechanics' Hall, 9th and nth June. 

The visit of Henri Vieuxtemps, the celebrated violinist, 
marked an important musical event, 7th July. 

CHARLES JAMES MATHEWS played in most of the countries 
of the world, and was the author and adapter of forty-three plays, 
and the creator of 161 parts. He was the only son of the celebrated 
comedian after whom he was named. He made his debut in 1835, and 
married Madame Vestris in 1838, when he came to America. He was 
the original Dazzle and his wife the original Grace Harkaway, in 
"London Assurance." Madame Vestris died in 1856, and a year 
later Mathews re-visitcd America, where he married Lizzie Weston 
Davenport the day after she was divorced from her husband, A.H. 
Davenport. For this the comedian was publicly horsewhipped by 
Davenport in New York. Mathews died 24th June, 1878, aged 75. 
Mrs. Mathews (nee Jackson) had married Davenport in 1854. She 
died at Brighton, England, 3rd January, 1899. 

JOHN H. SELWYN (Josephs) was a native of England, where he 
was born in 1836. He first appeared on the American boards in Bos- 
ton, 1854, and three years later married Miss J. Hayes. He after- 
wards managed Selwyn's Theatre in Boston. 

JOSEPH LOUIS BARRETT, a brother of Lawrence Barrett, was 
born 14th July, 1831. He first married Emily Viola Crocker, niece of 
Mrs. D. P- Bowers and Mrs. F. B. Conway. 

Mr. and Mrs. Barrett were seen in the Montreal Stock Company 
during several seasons. She died 21st Oct., 1869. For some years 
prior to his death, Mr. Barrett had been a member of Ada Gray's 

CHARLES WALTER COTJXDOCK frequently appeared here, 
and had been seen in all his great roles. He was born in London, 
England* 26th April, 1815, and came to America in 1849 in Charlotte 
Cushman's company, making his debut, 8th October, the Stranger 
to Miss Cushman's Mrs* Haller. 

After a brief tour as leading support to Miss Cushman, he settled 
down in Philadelphia, at the Walnut Street Theatre, for four seasons 
as leading man. While there Mme. Celeste played a star engagement 
(1852), and during the time did "The Willow Copse," a new drama 

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brought to this country by her. So well pleased was she with Mr. 
Couldock's performance of Luke Fielding that she presented him with 
a copy of it, with the right to produce it. For four seasons he travel- 
led as a star with this play. 

For about twenty years, from 1859. he was one of our best stars. 
When the Madison Square Theatre was dedicated, February 4. 1880, 
Mr. Couldock played Dunstan Kirke in " Hazel Kirke." He had cre- 
ated the character when the play was first produced under the title 
of "An Iron Will,'* at Low's Opera House, Providence, R.I., October 
27, 1879. He continued to act it at the Madison Square Theatre until 
the play was withdrawn, May 31, 1881, after its hour hundred and 
eighty-sixth consecutive representation. 

Mr. Couldock's lago and Hamlet were his best performances thirty 
years ago. His greatest fame, however, was achieved in the role of 
Louis XL Later on he adhered to a new line of dramatic work, 
known as the domestic drama. 

His last appearance in Montreal as a star was week 7th January, 
1889, in "Hazel Kirke," at the Theatre Royal. He re-appeared at 
the Academy of Music in support of Wilton Lackaye in " Dr. Bel- 
graf," in the spring of 1897. 

For many months he sat in the deepening twlight, waiting for the 
dawning of the grander day, while in his still vigorous brain were 
clustered the hallowed memories of many years. He died in New 
York, 27th November, 1898. 

GEORGE VANDEHHOFF was a son of John Vandenhoflf. and 
was born in Liverpool in 1816. He was educated for the bar, and final- 
ly admitted, but much against his father's wishes he decided to go on 
the stage, making his debut at Covent Garden Theatre, 14th October, 
1839. His debut at the Park Theatre, New York, was 21st September, 
1842. as Hamlet. In January, 1853, he returned to England on account 
of ill-health, returning in August, 1855, three days after which he mar- 
ried Mi?s Makeah, a lady who had appeared at the Winter Garden 
Theatre. She died 2Cth April, 1^85- In November, 1858, Mr. Van- 
denhoflf was again admitted to the bar- He possessed a commanding 
figure and an open and manly corntcnance, a voice of strong and 
pleasmg quality and he walked the stage with grace and dignity. As 
a reader he was very fine, and appeared in Montreal on several occa- 
sions at the Mechanics' Hall. He died at Bennington, 10th August, 

MARCUS ELMORE, an English actor, was doing the leading 
business during the season, appearing in ''Othello," "William Tell/' 
"Pizarro," "The Stranger" and other standard productions. Mr. 
Elmore was an actor of strong legitimate methods. He came to this 
country from the St. James Theatre, London, and made his American 
debut 2nd June, 1856, at the Brcadway Theatre as Huon in "Love." 
He returned to England, where he died some years ago. His wife, 
Mary Hannah Elmore, died 25th January, 1899. 

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DAJflEL WIM1ARTH (WAIAER), the son of a New York 
merchant, made his stage debut in his seventeenth year in Philadel- 
phia as Hamlet. Meeting with some success, he went to England, 
where in 1849 he married, and in 1851 returned to America. In 1853 
Mr. and Mrs. Waller made a tour of Australia. He died 20th Jan., 

EMMA WALLER, born in England in 1829, first studied in 
France and Italy for the operatic stage, but abandoned this course, 
and in 1848 appeared on the dramatic stage. 

Her first appearance in London was made at Drury Lane in 1856, 
as Pauline, in 4 " The Lady of Lyons." Prior to that time she had act- 
ed in provincial theatres, and there is a record of her appearance at 
Melbourne, in 1855. with G. V. Brooke, in " Macbeth/' On October 
19. 1857, she appeared in Philadelphia, playing Ophelia, and on 
April 5, 1858, she made her advent on the New York stage, acting 
with her husband at the old Broadway Theatre, as Marina, in " The 
Duchess of Main "—a version of that dark and terrible play having 
been made for her especial use by her friend, Richard Hengist Home, 
the noble old poet of 'Orion." After that time, during several sea- 
sons, she made starring tours of the country, and she was everywhere 
received with favor. 

Wm. Winter says that in her day she was a tragic actress of the 
first rank , and worthy to be named with Mrs. Duff, Charlotte Cush- 
man, Charlotte Crampton, Mrs. Warner and others of that exalted 
lineage, the queens of the tragic stage. 

Mrs. Waller's great performances were those of Lady Macbelh, Meg 
Merrilles and the Duchess of Malfi, but she also played male characters, 
and her clever impersonations of Hamlet and Iago were admired. She 
was a woman of stately presence and of a most expressive counten- 
ance; she possessed dark, piercing eyes, a pallid complexion and a 
voice of unusual depth and compass; her temperament was in the 
highest degree emotional; and, whether in repose or in movement, 
her demeanor was impressively indicative of a self-centred mind, 
deep feeling perfectly controlled and great physical power. In the 
character of Meg Merrilles she was perfection. She died in New York, 
28th February, "1899. 

JANE COOMBS was a pupil of Clara Fisher-Maeder, and made her 
New York debut 27th Oct.. 1855. In 1862 she appeared at the Haymar- 
ket Theatre, London; she married F. A. Brown in 1864, and lived in 
retirement for a time, but is again touring- Harry Lacy tells rather 
a good one on himself and Jane Coombs. " I'll never forget one per- 
formance in John ElMer's Theatre in Pittsburg. The play was 
"Romeo and Juliet." To give effect to a few of the strong scenes, I 
wanted a little slow music. I said to the German leader: 'No:v when 
Romeo and Juliet walk to the altar to be blessed by Friar Laurence, 
play something slow and tender." When the time came the Teuton 

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took the cue all right, and began: " Birdie, I am tired now, so put me in 
my httle bed." It was a most ridiculous situation, and Miss Coombs 
turned and gave him a look that almost withered him." 


was notable in bringing the famous Irish tragedian, Barry 
Sullivan, to Montreal. J. W. Buckland was lessee and man- 
ager; H. B. Phillips, stage manager ; T. B. MacDonough, 
prompter; Hawthorne, scenic artist; and Geo. Wilson, 
machinist. Miss Jean M. Davenport (Mrs. Lander) opened 
a six nights', starring engagement, 13th June, in "Charlotte 
Corday," following in ''Adrienne Lecouvreur, ,, etc. "The 
Jealous Wife " and Sandford's Ethiopian Troupe subsequently 
held the boards. Barry Sullivan began a two weeks' engage- 
ment from 27th June, opening in "Richelieu." The personnel 
of the season's stock company will be seen by the following 
support to Mr. Sullivan in the " Richelieu " cast: Cardinal 
Richelieu, Barry Sullivan; De Mauprat, Harry Copland; Bara- 
das, Charles Fisher; Gaston, T. B. MacDonough; Louis XIII. , 
Geo. Lingard; De Beringhen, Harry Thompson; Friar Joseph, 
H. B. Phillips ; Francois, J. L. Barrett ; Hugnet, W. J. Le- 
Moyne ; Governor, T. Owens ; First Secretary, Mr. Lee ; 
Second Secretary, Mr. Wallack ; Gaoler, Mr. Lawson ; Julie de 
Mortemar, Alice Gray; Marian de Lorme, Mrs. Sylvester. Dur- 
ing the engagement Mr. Sullivan appeared in the following 
successively: "Macbeth," "Richard III.," " Money," "The 
Lady of Lyons," " King Lear/' " Don Caesar de Bazan," 
"Hamlet" and "The Merchant of Venice." Mr. Sullivan's 
engagement was by no means a financial success here. C. 
Hale, J. H. Jack, Miss A. France, Miss Pritchard, Miss R. 
France and Mrs. Eckhairdt were also members of the stock 

Mr. Sullivan's extensive repertoire seems to have been a 
heavy strain on the supporting company, and the tragedian 
was greatly provoked at being forced to act as prompter as 
well as star. Mr. George Home, of this City, records that in 
one of his death scenes the actor was so discomfited by his 
support forgetting the lines of the text that, springing to his 
feet, he roared, "Am I to prompt you when I am dying?" He 
then rushed off the stage, and it was several moments before 
he could be induced to return and finish dying. 

William E. Burton was another bright star to apoear, open- 
ing 1st August in "An Englishman in France," "Pillicoddy ,f 

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and other light comedfes. His engagement closed 12th Aug- 
ust, and he shortly afterwards retired from the mimic scene. 

Susan Denin and Kate Denin Ryan, supported by the come- 
dian, S. E. Ryan, began a limited engagement 15th July in 
repertoire. This noteworthy engagement was followed by 
another not less so: Helen and Lucilla Western (the "Star 
Sisters 1 ') began a week's engagement on the 1st of August, 
in "Flowers of the Forest.'' The cast was as follows: Star- 
light Bess, Lucille Western ; Cynthia, Helen Western ; The 
Wolf, Charles Fisher ; Cheap John, C. Hale ; Kinchen, H. 
Thompson; Hugh Lairock, H. B. Phillips; Alfred, J. L. Bar- 
rett; Lemuel, Alice Gray. Lucille had a benefit, 4th, under the 
patronage of Sir Francis Williams, K.C.B., commander of the 
British forces in North America. "Flowers of the Forest" 
was last played at Montreal week 10th January, 1887, by 
Lindley's Company, at the Lyceum Theatre, under the title of 
"Ishmael." Sallie St. Clair opened the 5th of September for 
one week, assuming fiv^e different characters in her produc- 
tion of "The Female Brigand." The stock company then ap- 
peared in "As You Like It," and on 10th October the Cooper 
Operatic Troupe began an engagement for one week in a 
series of standard grand operas. The principals were Brook- 
house Bowler, Avnsley Cook and Mr. Rudolphsen. 

ALICE GRAY, who was seen as leading lady in Montreal in 1859- 
'62-'63, was born in Boston in 1833. Her real name was Dehan. Her 
debut was made in Buffalo in 1855. and possessing considerable talent 
as well as personal charms she soon rose to leading roles, subse- 
quently becoming a member of Daly's company. Miss Gray married 
Wm. L. Lawson at Haverhill, Mass., on 29th March, 1887. 

WILLIAM J. LB MOYNE has now become one of America's re- 
presentative stock actors. He was born in Boston about 1831, and 
first appeared on the stage at Portland, Me., in 1852. He was in the 
civil war. During the past two decades Mr. Le Moyne has been as- 
sociated with New York stock and travelling companies. He mar- 
ried Sara Cowell, who has been a stelhr card for two seasons in 
"The Greatest Thing in the World/' 

THE DENIN SISTERS.— Kate Denin was born in Philadelphia 
in 1837, and soon developed histrionic tendencies. She married C. 
K. Fox, and the next day left for the west, leaving Fox behind. She 
afterwards married Sam Ryan, and in 1857 went to Australia. On her 
return she starred in all the cities of importance in the United States 
and Canada. 

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Kate Denin is a member of Charles Frohman's forces. She is re- 
called in Boston as a member of the Museum Company in the sixties, 
She eloped from that theatre with Mrs. Vincent's young husband! 
handsome John Wilson, who was afterwards Kate Denies third hus- 

Susan Dcnin, who was two years younger, is said to have been 
the more talented. Her London debut was made 20th of March, 1860. 
She became Mrs. Theodore Morris, and died 4th December, 1875. 

fl ALLIE ST. CLAIR wa s born in England in 183 1 and was brought 
to America in her infancy. She was first seen on the stage as an in- 
fant and giving a speaking part for the first time at Philadelphia in 
1846. In i860 she married Chas. M. Barras, and died 9 h April, 1867. 

THE WESTERN SISTERS were born in New Orleans, Lucille 
in 1843 and Helen in 1844. The latter died in 1868 when the best days 
of Lucille may be said to have begun. Their father, a tobacco mer- 
chant, died in 1859 and Mrs. Western married W.B. English, a thea- 
trical manager, who in time brought his step-daughters before the 
public, they being known as the " Star Sisters .*' Lucille, in after 
years, became celebrated in "East Lynne" a part which she at first 
refused to even rehearse, but which eventually brought her over a 
quarter of a million dollars all of which was frittered away by 
others. Her life was one of incessant toil without fruition. Had her 
great powers been properly directed, much different would have been 
her record. She became the wife of James H. Meade, and died in 
Philadelphia, nth January, 1877, while placing a star engagement. 

Helen who first married a Baltimore lawer'was married to James 
A- Heme, in August, 1865, in Montreal. She died in her 24th year, 
in 1868. Jane English, their mother, died in the Forrest Home, 31st 
October, 1898. 

JAMES H. MEADE. The passing away of this well-known charact- 
er, May, 10, i8c,8, in New York city, brought to mind many episodes 
in a most remarkable career. Lucille Western, the famous actress, 
made her Montreal debut August 1, 1859. She was then sixteen years 
of age. The following year she met and married "Jini" Meade, her 
senior by thirteen years. Although little more than a child, the ac- 
tress gave promise of genius, which afterwards made her acting in 
" East Lynne " a feature of the American stage, which will long re- 
main a memory. Meade managed his wife's dramatic tours and per- 
formed his duties ably. 

They lived together for a number of years, leading a somewhat 
checkered existence, and then in that easy way which stage folks have 
they mutually agreed to disagree, and separated. Before the pre-ar- 
ranged divorce was secured. Lucille Western died, a victim to a pas- 
sion which dominated over her genius. 

At the time that Lucille Western was first creating a furore in the 
Quaker City, one of its most beautiful young girls was Susannah P. 

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McComb, a c'aughter of Samuel McComb, a well-known bookbinder. 
She was considered one of the prettiest girls in a city famous for the 
beauty of its women. Miss McComb in time met Willam D. Edson. 
The young man pessessed rare business qualities and made quite a 
large fortune in the boot and shoe business. But with rapidly ac- 
quired riches came taste foreign to one who* had been brought up in 
the quiet atmosphere and the staid ways of a Quaker household. Fly- 
ing steeds frequently give wings also to the money of their owners. 
Even Edson's wealth could not stand the strain of his extravagances, 
and one day the firm of which he was the head failed ignoniiniously. 
In fact, there were circumstances connected with it which caused him 
to travel to Canada. Before or about this time Edson met Susannah 
McComb. He had been married and had two sons living, but suc- 
ceeded in procuring a divorce from his wife. He took the beautiful 
Susannah to his bosom, and some time afterwards in Montreal they 
were married. Eight months after, Edson sent his second wife back 
to Philadelphia, promising to join her there. Having thus disposed 
of his second wife, he sent for the first partner of his woes and nor- 
wards lived with her. In 1872 Susannah McComb ceased to be Mrs. 
Edson. The ground upon which the legal separation was procured was 
that of desertion, and one of the witnesses who gave testimony before 
the examiner appointed by the Court was Jas. H. Meade, who even at 
that time was conscious of the charms of the beautiful plaintiff. 
Eighteen years afterward, when he. although in the full vicor of life, 
was wdl advanced in the sixties, and Susannah McComb, still a beau- 
tiful woman — they were made man and wife. She now survives him, 
and one who saw her in Philadelphia recently, said : "Although a 
becoming gray tinges her hair, her beauty is still absolutely dazzling." 
James Meade had been identified with numerous theatrical ventures. 
He was a man of such rugged constitution, although small and spare 
of frame, and carried his years so lightly, that his death came as 
a surprise to those who never thought of him in connection with the 
dread destroyer. 

WM. EVANS BURTON.— This comedian was born in London in 
1802, and was educated for the church, receiving a classical education. 
At the age of eighteen he took charge of his father's printing office- 
At twenty-three he became an amateur actor, his forte being tragedy. 
Before this, in 1823, he had married, and in 1825 his father died. He 
carried on the printing business until 1830, when he went on the stage, 
soon afterwards coming to America, and in 1834 was seen as Dr. 
Allopod at the Arch Street Theatre. Philadelphia. He became a great 
comedian, appearing in a number of Dickens' characters. He pos- 
sessed wonderful facial power (not even surpassed by Charles Ma- 
thews), a strong physique, and great elecutionary powers. Tn 1856 
he married his second wife, Mrs. Hilson, and in 1859 retired from the 
stage, dying 10th February, i860. During his stage career he had 
been for some years in the managerial line, one of these efforts beinjf 
the management of Burton's Theatre, New York. 

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JOHN HENRY JACK is a well-known stage figure and one of the 

best Falstaffs of to-day. He was born in Philadelphia 1st Feb., 1836, 
and has played in almost all the large cities of the United States and 
Canada. In 1879 he made a tour of the world, making his re-appear- 
ance in America at the Park Theatre, Philadelphia, 13th Aug., 1880. 
His most recent work has been in the support of Mrs. Fiske and 
Joseph Jefferson. 

EUPHEMIA (EFFEE) GERMON was always a great favorite 
here, although not appearing in anything but soubrette roles as a rule. 
She was born 13th June, 1845, at Augusta, Ga., and made her pro- 
fessional debut in 1857. While here she kept the "Johnnies'' busy. 
Many old theatre-goers will remember her song, "The Captain with 
the whiskers took a sly glance at me. ,; Miss Germon was four times 
married, first to a brother of Patti, then to Burk, to Albert Roberts, 
and, finally, to Fiske. 

THOMAS BARRT BULLIYAN was not noted for personal 
beauty, for volume of voice, or variety of tone . in speech, yet he 
filled heroic roles with dignity and force. His features were deeply 
furrowed by small-pox and also gave evidence of his having re- 
ceived a pistol shot, which accident occurred on the stage. Firm set 
jaws, teeth of remarkable whiteness, dark hair, huge bushy black eye- 
brows and fine piercing eyes of Irish blue completes his portrait. 

He was given to exaggeration in action at times, and to straining 
for originality in his readings. His Hamlet declared that he knew a 
hawk from a h.rne (heron), adding pettishly to express his dislike for 
the courtiers, "Pshaw!" He played Hamlet 3.500 times. 

Sullivan was born in Dublin in 1824, and died in London. 3rd May. 
1891. His debut was at Cork in 1840, and after acting through the pro- 
vinces made his London appearance 7th February, 1852. He came to 
America in 1858, making his first appearance at the Broadway The- 
atre, New York, 22nd Nov., as Hamlet. He fulfilled star engagements 
in all the principal cities of the United States and Canada in a round 
of characters, including Claude Melnotte, Macbeth, Hamlet, Shylock, 
Lear, Richelieu and Richard HI., returning to England in the summer 
of i860. He shortly afterwards visited Australia and again came to 
America in 1875. His finest impersonations were Falconbridge in 
"King John," Macbeth and Richard HI., these performances being full 
of originality. 

His last appearance on the stage was' at the Royal Alexandria The- 
atre, Liverpool, 4th June, 1887, as Richard HI. 

It was at Shewsbury, during the last act of Richard, on one occa- 
sion, just after he had repeated the line : 

''My kingdom for a horse!" 
that someone in the top gallery asked him if an ass would do as well 
Barry was angry, but quickly replied. "Yes, just come around to the 
stage door." 

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While : playing Hamlet in Philadelphia, Sullivan, on one occasion, had 
among his audience Edwin Forrest, who showed to every one around 
him how much he despised the innovations of the Irish actor. Espe- 
cially was this pronounced when the artor spoke the words, " / know 
a hawk a h.ron—psh.w!' Sullivan might well resent the insult; 
and as he subsequently took the couriers aside he pointed his finger 
straight at Forrest in the box, and in the words of the text, exclaimed 
with emphasis, " Do you see that great baby yonder ? He is not yet out of 
his swaddling clouts" 

The audience cheered and hissed, admired the quick wit, but resent- 
ed the attack. Forrest should have remembered the terrible sequel of 
his having previously hissed Macready- He certainly felt Sullivan's 
rebuke very keenly. 

Although of abstemious habits, Barry Sullivan was striken without 
warning and suffered greatly for nearly three years before his great 
soul took its eternal flight. He rests among poets, patriots and states- 
men in Glasnevin cemetery, Dublin, where a statue of the actor as 
Hamlet marks the spot. 

His tomb is built where the sunbeams rest 

When they promise a glorious morrow; 

And they II shine on his grave like a smile from the west, 

O'er his own loved Island of Sorrow " 


was opened by the French Company in repertoire during 
April, and was regularly inaugurated 28th . May, when Agnes 
Robertson, who had first appeared here seven years before, 
was seen in "Andy Blake " and "The Young Actress." The 
personnel of the stock company appears in the cast of "Andy 
Blake": Andy Blake, Agnes Robertson; General Daly, Charles 
Fisher; Ignatius Mulrooney, C. Hale; Dick Daly, J. L. Barrett; 
William, Mr. Harrison ; Mrs. Blake, Mrs. Sylvester ; Mary 
(first appearance), Mary Miller; Lady Mount joy, Mrs. C. Hale. 
Agnes Robertson produced several other comedies during her 
engagement. The other members of the season's stock com- 
pany not appearing in the foregoing cast were : Fred G. Mae- 
der, George Lingard, George Becks, White, Howell, H. B. 
Phillips, T. B. MacDonough, Ernestine Hendrake, Henry 
Wright and Viola Crocker. 

Mr. and Mrs. F. B. Conway made their first appearance in 
three years in "Macbeth/' nth June. On 21st "Romeo and 
Juliet" was produced, with Mrs. Conway as Romeo, Viola 
Crocker as Juliet, Mr. Conway as Mercutio, Charles Fisher as 
Friar Laurence, C. Hale as Peter, H. Wright as Tybalt and J. 
L. Barrett as Benvolio. 

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The next important production was "Our American Cou- 
sin/' first seen in Montreal on Friday, 29th June, with the fol- 
lowing cast : Asa Trenchard, C. Hate ; Lieut. Vernon, F. G. 
Maeder; Capt. de Boots, Mr. Lee; Abel Alurcotte, C. Fisher; 
Buddicombe, Mr. Harrison ; Lord Dundreary, J. L. Barrett ; 
Sir Edzcard Trenchard, H. Wright; Coyle, George Lingard; 
Binney,T. B. MacDonough; John Whickcn, Mr. White; Flor- 
ence Trenchard, Mrs. F. B. Conway; Mrs. Monntchessington, 
Mrs. Sylvester; Augusta, Miss E. Hendrake; Mary Meredith, 
Mary Miller; Georgiana, Miss Viola Crocker. This play was 
first produced at Laura Keene's Theatre, New York, 18th 
October, 1858, running until 19th March, 1859. It was fre- 
quently seen here, Barton Hill becoming a very capable, de- 
lineator of the character of Dundreary, which role made E. A. 
Sothern famous in the original productions. 

Marcus Elmore re-appeared after two year's absence, and 
did leading business until the close of the season, being seen 
in "Othello," 4th July, following in standard legitimate dra- 
mas. The Italian Opera Co. was heard 16th July for a short 
season, and the French Company, from New Orleans, began 
a six nights' engagement 6th August. Other English pro- 
ductions followed, "London Assurance" being presented 17th 
for C Hale's benefit. Marcus Elmore was also tendered a 
benefit in "Green Hills of the Far West," with Acts 2 and 3 of 
"Rob Roy''; and on 3rd September the season closed with a 
benefit to Mr. and Mrs. Buckland in 'Tollies of a Night," 
"Green Bushes " and "The Merry Wives of Montreal." 

John C. Heenan, the pugilist, appeared 8th November, as- 
sisted by Aaron Jones, of London; Ned Price, of Boston; and 
Monsieur Gregoire, the then "strongest man in the world." 

FRED G. MEADER was a son of the great Clara Fisher-Meader. 
and was born nth Sept., 1840. It was in Montreal that he first essay- 
ed dramatic authorship, presenting Dickens' ''Great Expectations" 
in dramatized form. Mr. Maeder wrote more plays than any other 
American dramatist. He was joint author with McKee Rankin of 
"The Canuck;" and this was one of his last productions, he dying 8th 
April, 1891. 

Adelina Patti made her first appearance in Montreal during 
September of this year, on the occasion of the grand reception 
and ball in honor of the Prince of Wales, now King Edward 
VII. The diva was accompanied by Carl Formes, Amelia 
Strackosch, Amoch, Barili, Susini and Signor Rrignoli, ap- 

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pearing in a building specially constructed on St. Catherine 
street west known as the Crystal Palace. She was then in her 
twentieth year. Her first appearance in Montreal was in 1852 
in the Salle Bonsecours. 

Spain, 19th Feb., 1843. While she was an infant her parents came to 
America, where she early exhibited very remarkable musical talent. 
At the age of sixteen she appeared in opera, in New York, with great 
success. Two years later she appeared at the Royal Italian Opera 
House, London, and was once acknowledgjed to be one of the greatest 
dramatic vocalist that ever appeared, which reputation she has 
since maintained. 

She met her husband, the Marquis de Caux, in 1867, during a soiree 
at her own house. He followed the prima donna all over Europe. The 
marriage was opposed by Salvator Patti and de Caux's mother, but 
on July 29, 1868, the ceremony was performed at Clapham. 

It was at Homburg that Patti met Nicolini. The tenor, with his 
wife and five children, dwelt close by Mme. Patti, and the prima 
donna evinced a strong dislike for him. Nicolini and de Caux be- 
came warm friends, but the prima donna's dislike for Nicolini seem- 
ed to increase. It is not told how or when her feelings changed, 
but the climax was reached when one of Nicolini's letters fell into 
deCaux's hands. He sued for divorce, and she took the same step 
against her husband. Mme. Patti then transferred her allegiance 
to the tenor. In 18S6, some years afterwards, they were married. 
Since then Mme. Patti has been for the greater part of the time in 
retirement at her castle of Craig y nos, in Wales. Signor Nicolini 
died at Cannes on January 19, 1898. His real name was Ernest 

Adelina Patti was married at Brecon, Wales, to Baron Ceders- 
troom, 1809. 

Baron Olaf Rudolf Cederstrom is a young Swedish nobleman of 
good family but small fortune. He was 29 years old and an athlete, 
and Patti is said to have fallen in love with him when seeing him 
perform on the bars at his gymnasium in London. 

Patti has made six triumphal tours in America, her last ending in 
March, 1894. 

THOMAS B. MAODONOUGH, a capable actor and manager, 
was born at Philadelphia on the 8th of December, 1835. His introduc- 
tion to the stage as a professional actor was at Norristown, Pa., in 
1854. During the war he served for the Southern cause. He first 
appeared in New York in 1863. 

Mr. MacDonough died 3rd February, 1899, in Philadelphia. 


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introduced that very pleasing English tragedian, Charles Dil- 
lon. Woods' Minstrels came 14th January. From 16th April 
to 25th Buckland was associated with E. Bertrand, and dur- 
ing that time appeared a French company, including Paul 
Labas and Mile. Sen as principals. A troupe of Spanish dan- 
cers held the boards during the latter part of May, closing 1st 
June. On 3rd and 4th June the Strakosch Grand Opera Com- 
pany appeared, including Carlotta Patti, sister to Adelina, and 
Sig. Brignoli, Sig. Barili and Amelia Strakosch. The regular 
season opened nth July with J. W. Buckland as manager. 
The opening bill was "Everybody's Friend" and "Jenny 
Lind." Charles Fisher made his first appearance this season, 
12th, in "She Stoops to Conquer/' Charles Dillon appeared 
13th in his great role of Belphegor in "The Mountebank," and 
the after-piece, "The Artful Dodger." This was Mr. Dillon's 
first appearance here. On 15th he was seen in "Virginius," 
"Belphegor," 16th; "Othello," 17th; "Damon and Pythias," 
18th; "Brutus," and "Corsican Brothers;' 20th; "Hamlet," 
22nd; "Three Musketeers," 23rd; "Money," 24th and 25th; 
"Merchant of Venice/' and "Katherine and Petruchio," for 
the closing of his engagement, 26th. 

"Mazeppa" and "Dick Turpin" followed, and from 8th 
August to 24th the Nelson Sisters appeared in a repertory of 
standard plays. Laura Honey appeared 26th in Boucicault's 
"Colleen Bawn," and on 2nd September Eliza Webb in "All 
that Glitters is not Gold," and "Lalla Rookh.'' 

Charles Dillon re-appeared, 4th September, as Sir Giles 
Overreach) "Richelieu," 5th; "The Gamester," 6th; "Mac- 
beth/' 7th; "King Lear," 9th; and "Richard III.," 12th. The 
supporting stock company during the season was cast as fol- 
lows in "King Lear": King Lear, Charles Dillon; Edgar, S. 
C. Dubois; Edmund, Mr. Van Deren; Duke of Kent, H. B. 
Phillips; Duke of Gloster, C. Merton; Oszvald, E. Lamb; Fool, 
Effie Germon; Duke of Albany, F. G. Maeder; Duke of Bur- 
gundy, Mr. Carland ; King of France, W. Pope ; Duke of Corn- 
wall, Mr. Lee; Rhys, E. B. Holnres; First Knight, Mr. Ward; 
Cordelia, Eliza Webb ; Regan, Mrs. Van Deren ; Goneril, Mrs. 
Wilkins. Mrs. Buckland was the Portia in the production of 
"The Merchant of Venice/' a character which she played ad- 
mirably. During the performance, Mr. Dillon found it neces- 
sary to appeal to the respectability of the uniforms of a few 

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officers occupying a box, who repeatedly interrupted the per- 
formance. The latter for a moment seemed likely to pro- 
voke the quarrel further, but the angry "pit" took sides with 
the tragedian, and the performance went on without further 
trouble. Marie Henderson and her sisters, Carrie and Sara 
Nelson, were seen in a repertory for a week from 16th, fol- 
lowed by Laura Honey, 23rd. Miss Honey appeared 26th 
with W. P. Davidge in "Married Life." "The Lancers" and 
"The Jewess" followed. Mr. Fauvel had a benefit November. 
The Nelson Sisters re-appeared in December, the principal 
production being "The Honeymoon." On 27th the Quebec 
Garrison Amateurs presented "Charles XII., King of 

During the season 
nordheimer's hall and mechanics' institute hall 

were leased to small companies, Sam Co well's (died nth 
March, 1864, aged 43) Vaudeville Company appearing at the 
former 8th, 9th and 10th July, and the Holman Opera Com- 
pany at the latter 12th August, this being the first record of 
their appearance in Montreal. Christy's Minstrels also ap- 
peared at Mechanics' Hall, October 28 and 29. 

CHARLES DILLON was one of the most intense actors of this 
century. Harry Lindley says that in Belphegor he brought tears as 
the deserted husband; his grief and momentary bewilderment at the 
loss of his wife, to the full agony of its realization, was not only ren- 
dered with force but also with most subtle -and delicate touches. As 
he made his exit from his abandoned room, with sunken frame, feeble- 
ness of limb, and the semblance of mute despair upon his face, yet di- 
vested of extravagance, he showed the finest traits of tragic intensity 
lie was not so happy in the great creations of Shakespeare, although 
his Hamlet had novel innovations which pleased the public. In char- 
acters calling for manly pathos he never had a superior. The abler 
critics said he "lacked in intellectual gifts." Dillon was born at Diss, 
England, in 1819. Prior to his London debut, he had made quite a 
reputation in the large provincial cities. He first appeared in London, 
at Sadlers Wells' Theatre as Belphegor, in 1856, when he scored a very 
flattering success. He visited America in 1861 and became a favor- 
ite. From thence he went to Australia in 1862, returning by way of 
America in 1865, when his wife died. He returned to England in 1866. 
In 1873 be made a success as Jean Valjean in Hugo's "Les Miserables." 
He dropped dead in England 24th June, 1881. It was at Hawick 
that the summons came. On the opening night he played "Othello" 

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and although there was a wretched house, amounting to barely a 
few pounds, it was remarked that he acted with all the old 
grace and fervor. After the play, when he had finished dressing, 
he came out and sat upon the stage, waiting for the manager to 
bring him the miserable pittance which constituted his share 
of the receipts. The primitive orchestra consisted of a piano, on 
which entr'actes were played behind the scenes by a member of the 
company. Evidently the chief was in a despondent mood, for he re- 
mained silent and saturnine. Noting this, one of the young fellows of 
the troupe sat down to the piano and began to play some lively airs. 
When he had finished, Dillon muttered; "You have a light heart — a 
light heart, sir; how I envy you." With that he sighed and turned 
away. Could he have had a presentiment that the end was so nean ? 
Next morning he went down to the theatre to enquire if there were 
any letters. He was now elate and confident. Although the house 
had been so bad on the previous night, the impression created upon the 
audience was so favorable that a capital week's business was antici- 
pated. After his usual custom, he took the company to an adjacent 
tavern and stood drinks of humble malt all around, told them some 
piquant story of America and Australia ; then they sallied forth to ex- 
plore the town. As they reached the middle of High street, laughing 
and talking, he paused suddenly, put his hand to his head, as he was 
wont to do in Beverley, and exclaimed : "God I can this be death f" As 
the words left his lips he fell dead without a groan. His muscles 
had been so strained to harmonious motion that habit had become sec- 
ond nature, and one who stood beside him in that supreme moment 
assured me that in the very rigor montis he instinctively fell in an at- 
titude of classic grace, even as Cesar might have fallen beneath the 
steel of Brutus, and the others at the base of Pompeii's statue. It was 
best that the end came as it did, for the aspirations which had been 
more than fulfilled in the summer of his existence died out in its 
dreary autumn, and the future was a hopeless blank. His list of char- 
acters was extensive, but his great roles were Hamlet, King Lear, 
Othello, Richelieu, Macbeth and Belphegor. 

LAURA HONEY, an English actress, first appeared on this side 
in Boston, 3rd September, 1858, at the Howard Athenaneum, in the 
"Child of the Regiment." 

THE NELSON BISTERS, Carrie, Marie and Sarah, were the 
daughters of an English composer. They visited Australia, thence to 
California and to New Orleans. They appeared in New York in i860 
in musical burlesque, and returned to England in 1861. 

SAMUEL CONTER DU BOIS died in Philadelphia, 17th January, 
1898, aged 64. He was a call-boy in the Walnut in the early fifties, 
subsequently managed a theatre in Pittsburgh, returned to the Wal- 
nut as an actor, and retired from the stage in 1870, about which time 
the general abandonment of the stock company system had began. He 

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had played frequently with Edwin Forrest during his Walnut days ; 
so, when he determined to return to the stage, he possessed an equip- 
ment for the classics that made him a valuable man in support of Mc- 
Cullough, Warde, Collier and Edwin Booth. He never gained parti- 
cular fame as a player; but he never quite lost his love for the theatre, 
and was indefatigable for years in the devising and superintendence 
of festivals and celebrations that called into requisition his taste and 
talent. One of his notable achievements was the management of a 
festival, some years ago, in Cincinnati, in which Booth, Barrett, Mur- 
doch, Mary Anderson, Clara Morris and Fanny Davenport particip- 
ated. He was active in the arrangement of much of the pageantry of 
historical significance that marked the opening of the World's Fair. 

E. B. HOLMES, after the close of his Montreal engagement, met 
Lizzie Macgregor in the West Indies, and they were married. She 
appeared with him here the following season. He was born in New 
York 2nd June, 1840. 

THE SEASON OF 1 862 ' 

again found the Bucklands at the head of affairs, with Alfred 
Nelson as acting manager. The names of the members of 
the company will appear further on in the cast of "Nick of 
the Woods." Knowtes' play of "The Hunchback" was the 
opening bill, 9th June, followed by "The Wonder," "Married 
Life," "A Kiss in the Dark/' "As You Like It * and "Our 
American Cousin." "Nick of the Woods" was produced 21st 
June. Cast: The Jibbcnainosay, Bloody Nathan, Nick of the 
Woods, Avenger, Reginald Ashburn, Barton Hill; Ralph Stack- 
pole, Vining Bowers ; Richard Braxley, Mr. Mardyn ; Col. 
Bruce, E. B. Holmes ; Big Tom, W. Pope ; Abel Doe, Mr, 
Ward; Roland, C. M-erton; Wcnonga, A. Nelson; Piankashaw, 
H. Chitty; Little Tom, Mr. De Vere; Tellie Doc, Alice Gray; 
Edith Forrester, Marian Watts ; Mrs. Bince, Mrs. C. Hill ; 
Phoebe Bruce, Effie Germon : Nelly Bruce, Lizzie Mac- 
gregor. Julia Bennett-Barrow, the celebrated actress, 
opened, 23rd June, in " As You Like It." Rosalind, Mrs. 
Barrow ; Jacques, Barton Hill ; Touchstone, Vining Bowers. 
Mrs. Bennett-Barrow was seen in an extensive repertoire 
during her engagement. Following came productions of 
"The Jealous Wife/' "The Love Chase," "Angel of Mid- 
night," "Family Jars," "Colleen Bawn," "Dundreary 
Abroad," etc. Ada Laurent, a dancer, was seen during 
the month of June. The celebrated pianist, Gottschalk, 
appeared at the head of a concert company 4th and 

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5th July. Kate Reignolds opened 7th July for a short 
season, being seen in "Cricket on the Hearth, ,, "Asmodeus," 
'Teg Wofhngton," 'The Marble Heart," and "Romeo and 
Juliet,'' 8th July, Miss Reignolds being the Romeo to Alice 
Gray's Juliet. A French company came week of nth, and did 
good business. J. H. Hackett came 21st July, opening in 
"Henry IV.," Macklin's "Man of the World," 22nd; "Merry 
Wives of Windsor/' 23rd; "Henry IV.," 24th; three small 
farces, 25th; and a repetition of the "Merry Wives," 26th. 
Edward L. Davenport, the admirable tragedian, made his 
debut at Montreal 28th July in "Hamlet," with the following 
cast: Hamlet, E. L. Davenport; Claudius, T. E. Mills; Polon- 
ius, E. B. Holmes; Laertes, Barton Hill; Horatio, C. Merton; 
Rosencranz, Mr. Pope; Guildenstern, Mr. Chitty; Osric, Effie 
Germon; Bernardo, L. Monroe; Marcellus, R. F. Smith; Fran- 
cisco, Mr. Mitchell; Gfwst, Charles Fisher; First Actor, A. Nel- 
son ; Second Actor, G. Jones ; First Grave-digger, Vining 
Bowers; Second Grave-digger, C. Hill; Priest, Mr. Amherst; 
Gertrude, Alice Gray; Ophelia, Marian Watts; Player Queen, 
Miss Macgregor. "Damon and Pythias'* was produced 29th; 
"Othello," 30th; "Richard III.," 31st; "Merchant of Venice" 
and "Black-Eyed Susan," 1st August. Mrs. Buckland was 
the Portia to Mr. Davenport's Shylock. J. H. Allen was the 
next star to appear, having been specially engaged during the 
first part of September for a production of Edmund Falconer's 
picturesque Irish drama, "The Peep o' Day Boys.'' That 
production, it will be remembered, was made by Laura Keene, 
and was cne of the most successful works accomplished under 
that lady's management. Cast: The MacCarthy, The Captain 
of the 'Peep 0' Day'' (dual roles), J. H. Allen; Squire Doherty, 
Chas. Fisher; Darby Kelly, R. Cook; Aleck Purcell, George 
Becks; Howard, S. C. Dubois; Terence McGowan, C. Merton; 
The Babby, A. Nelson; Capt. McNcary, E. B. Holmes; Thady 
Doyle, W. Pope; Dennis, H. Chitty; Percy McDade, Coburn; 
Larry Riordan, Moore; Johnny Gaul, Peters; Phadrid, Hughes; 
Mickey, Davidson; Sergeant, Jones; Nelly Brady, Alice Gray; 
Mary Kelly, Effie Germon; Helen McNeary, Fanny France; 
Patsy Moore, Miss Macgre^or; Widow Milloy, Mrs. C. Hill; 
Molly Flaherty, Laura Le Brun. 


The history of a theatre so closely bound up with the for- 
tunes, likes and dislikes of the city as the Royal is, there are 

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many interesting incidents to be recorded, and a chat with Mr. 
Chris. Acheson, the veteran doorkeeper, who has been in the 
employ of the Royal for forty-one years, gives one some idea 
ot the many-sided career the people's theatre has gone 
through. In old days Montreal's audiences were not so 
quiet and respectable as they aire now; the police were not so 
much in evidence, and mobs did pretty much what they 
deemed good in their own ey^s. More especially were 
they touchy on religious matters, as Charles Fister, who 
played the part of Squire Doherty in the "Peep o' Day," found 
out to his cost. It appears that the gallery objected to his 
raising his hands and blessing the crowd in the "Fair" scene. 
Fisher persisted in doing it, and immediately it rained apples, 
turnips and eggs from all parts of the gallery, while a crowd 
of fully five hundred toughs gathered on Craig street to at- 
tack him as he came from the theatre. It was only through 
the presence of mind of Chris. Acheson, who smuggled him in- 
to a private house, and then succeeded in getting him to his 
hotel by a roundabout way, that be escaped serious injury. 
The scene then had to be cut out, as even forty policemen 
were not able to maintain order. 

J. H. Allen was seen as Ingomar to the Parthenia of Alice 
Gray, 19th September. George Pawncefort, a very capable 
actor from New York, Boston and Philadelphia, made his first 
appearance 22nd Sept. in "A Romance of a Poor Young 
Man," and had an extended engagement. About this tinrc 
the name of Charles Peters also figured in the bills. The 
Webb Sisters (Emma and Ada) were also seen in a series' of 
dramas and comedies, closing 22nd November in a triple bill. 
C. Hill was tendered a benefit 2nd August, and shortly after- 
wards left for a trip to England. 

AJDA. LAURENT made her first American appearance in Mont- 
real in 1862, coming from England, where she was born of French 
parents. She was educated in a convent in Paris, but eventually took 
a fancy for the stage, making her initial bow at the Lyceum, London, 
in i860, as Columbine. Her first New York appearance was in March, 
1868, as a danseuse. 

GEORGE PAUNCEFORT came from England, and made his 
American debut at the Boston Theatre as Captain Absolute, nth Sep- 
tember. 1854. He opened the Worcester, Mass., Theatre in March, 
1859, as Pauncefort's Athenaeum. He married Georgiana Edward, 
and has a son, George, who is on the stage. 

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George Pauncefort, the original Armand Duval in this country, he 
originating the part simultaneously with the Camilh of Matilda Heron. 
He was a happy blending of the old and new schools, a capital in- 
structor and stage director. 

In light comedy roles of the Charles Coldstream and John Mildmay 
type he was superb. In melodramas like " The Duke's Motto," "The 
Iron Mask," etc., he was very effective, and in Hamlet and Macbeth he 
was acceptable. 

JUIiIA BENNETT BARROW wa s the actress whom Edwin For- 
rest esteemed as the best Dcsdemona of the stage, and who increased 
the furore over Hiawatha by her recitation of the poem as she stood 
in the picturesque costume of an Indian squaw behind the footlights, 
while Longfellow himself applauded her beauty and her melodious 
voice. With graceful figure and expressive voice, this highly-culti- 
tivated daughter of a well-to-do English actor had advanced so far in 
music as to be urged towards tihe operatic stage, but in 1841, while in 
her teens, she made her debut as an actress, and the success which met 
her efforts determined her course. In her twenty-first year (1845) 
she married Jacob Barrow, but her subsequent retirement from the 
stage was broken two years later by unfortunate circumstances. She 
returned to the theatre, and came to America to gain extended tri- 
umphs, making her debut at the Broadway Theatre, 24th Feb., 1851. 
Efforts in the managerial line proved disastrous, and gradually Mr. 
and Mrs. Barrow faded from the scene. They returned to England, 
where the exquisite and beautiful Mrs. Barrow lingered for some years 
a paralyzed invalid. 

EDWARD IiOOMIS DAVENPORT, a scholarly and most finish- 
ed actor, was by many conceded to be the ideal Hamlet, while othet 
critics thought him greater in Sir Giles, Bill Sykes, Brutus, and William 
in "Black-Eyed Susan." In all he was equalled by few, and in sev- 
eral excelled by none. Born in Boston, 1816, he was in the early 
forties a favorite actor at the Bowery Theatre, New York, as well as 
in Boston. Anna Cora Mowatt engaged him to support her on an 
English tour, which opened in Manchester on December 7, 1847. Mr. 
Davenport fairly shared the honors of the tour with Mrs. Mowatt, 
and when she returned to America he decided that it would be advan- 
tageous to himself to remain behind. In 1849 he was married to 
Fanny Vining (Mrs. Charles Gill), an English actress, who had play- 
ed with him. Fanny Davenport, it is said, was his step-daughter. 

In England he played leading and alternate business with Macready, 
also appearing with him on the occasion of Macready's farewell per- 
formances at the Haymarket Theatre in 1851. Returning to America 
in 1854, he toured through the United States and Canada, appearing 
in Shakespearean roles, also in several characters drawn from the 
muse of Dickens. Unfortunate managerial efforts dimmed the lustre 
of his reputation and ended in fiailure. He died at Canton. Pa., 1st 
September, 1877. Mrs. Davenport died 20th July, 1801. Two sons, 
as well as Fanny and Blanche, have also been on the stage. 

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BARTON HILL is of Greek stature, classic in relation to this na- 
tive stage, artist now as always and with reminiscences so rich that, 
like the favorite line in "Love's Labor Lost," "aged ears play 
truant at his tales and young hearings are ravished by his sweet and vol- 
uble discourse." 

Like the makers of the finer watches in Geneva, where only the third 
generation arc entrusted with tempering the main spring and setting 
the balance wheel, he was master of stage craft by heredity. His father 
was Charles Hill, actor, of Drury Lane; his grandfather, John Hill, 
and his name Barton flowed from a racial line whose presence is 
marked on the oldest play bills extant, including that of Joseph Addi- 
son's "Cato " in 1690. It so fell out that Barton Hill took a high 
place in his profession, and as stage manager and director of plays has 
long been recognized by his fellows as being far beyond the mummer 

Charles John Barton Hill was born in Dover, England. It was in 
Montreal that Mr. Hill passed the first three years of his American 
sojourn. His father and mother, Mr. and Mrs. Charles Hill, and 
sister, Rosalie, went to Montreal directly after arriving in America 
from England, in 1843. leaving Barton behind to complete his educa- 
tion in Belgium. They became members of the company playing at 
the old Theatre Royal on St. Paul street, which included, among 
others, that season, J. W. Wallack, jun., Mary Rock and George 
Graham, under the management of John Nickinson. 

Mr. and Mrs. Hill decided to become citizens of Montreal, Mrs. Hill 
opening up a dancing school in a hoiise built after her plans on the 
east side of St. Jean Baptiste street, next door to Robinson's livery 
stables. The school was the fashionable resort of the time, and thither 
congregated the juvenile elite of the city. 

In 1846 Charles Hill went back to England, and on his return 
brought with him his son, Barton, who records that his first position 
as money earner was as a compositor in "The Herald" office, under 
Mr. Penny. He was then in his sixteenth year, and shortly afterwards 
joined the Sock and Buskin Club of amateurs, where his abilities as an 
actor soon became recognized. 

The following year, after the breaking out of the epidemic of ship 
fever, Barton Hill forsook his printer's stick to accept the hazardous 
post of hospital registrar fon the attractive salary of $2.50 per day. His 
duties compelled him to come in contact with all the patients admitted 
to the hospital (railway freight sheds at Point St. Charles), and it 
must still be a matter of much conjecture to him how he managed to 
escape contagion. He was one of four of a staff of fifty who did not 
fall victims to the scourge. The haste of the younger members of the 
medical staff to enjoy themselves before their convalescence was as- 
sured proved fatal to several. Young Hill was one of the very few 
privileged juniors to be allowed to mess with the staff of doctors, 
among whom are recalled : Drs. Campbell, Francis, Hall, Liddle, 
McCullough and Lindsay. 

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This experience lasted from the month of June to the following 
spring. Mr. Hill had in the meantime resolved to study medicine. 
He was accordingly entered at McGill, and Dr. Crawford, taking a 
fancy to the young man, became his preceptor. During this period 
Mr. Hill records that the first successful operation under ether was 
performed, he assisting Dr. Crawford in an amputation. Drs. Wright 
and Angus McDonald were his confreres. A change of political in- 
fluence, however, deprived Barton Hill of his hospital position, and 
not wishing to he dependent on any of his friends, he decided to aban- 
don his intention of becoming a physician. 

In the summer of 1848, the Hill family, consisting of Mr. and Mrs. 
Charles Hill, Rosalie, Barton and Robert, began a tour of the princi- 
pal towns, giving parlor entertainments, etc., but the venture was not 
financially successful, and after disbanding, Barton drifted to Toronto, 
where he returned to the font and stick at the magnificent remu- 
neration of $2.50 per week. This occupation, however, not fulfilling 
the realization of his ambitions, he determined upon becoming an act- 
or for keeps, and was fortunate enough to find an engagement in the 
Pittsburg stock company, where he made his debut November 10, 

In the following year, 1851, Mr. Hill made his metropolitan debut at 
the Broadway Theatre. He was married to Olivia Crook the same 
year, and also made his first appearance as a professional actor in 
Montreal the same summer, appearing under George Skerrett's man- 
agement in the old Garrick Theatre, on St. Jean Baptiste street, known 
that season as Skerrett's Bandbox. Mrs. Barton Hill accompanied 
him and was billed as "Miss Olivia." 

In the company was Sir William Don, a generous but eccentric 
actor who stood six feet four inches. The company subsequently 
adjourned to the reception-room of the St. Lawrence Hall after find- 
ing that the capacity of the Bandbox was not sufficient to accom- 
modate the public. 

His first starring engagement in Montreal began in June, 1862. 
He had made quite a hit as Dundreary in "Our American Cousin," 
and it was decided to put it on the boards during this engagement. 
There was some difficulty to find an actor in the company able to 
play Asa Trenchard. Mr. Hill suggested to Manager Buckland 
that he telegraph Vining Bowers, whom he knew to be at liberty- 
It was in that way that the comedian first came to Montreal. 

From 1862 to 1872 Barton Hill was an annual star at the Theatre 
Royal, missing but the season of 187a which year be passed in London, 
Eng., to fulfil an engagement at the St James Theatre in the character 
of Young Marlowe, making his debut 16th Oct., 1869. 

It was the summer of ! 1864 that John McCullough first appeared 
in Montreal as leading man. Barton Hill, however, does not appear 
to have met him during this engagement, for he tells me that they 
first met in 1865. 

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"My first impression of John McCullough," says Mr. Hill, "was a 
most favorable one, and never changed during the period of the 
-several years we were associated together here and there, but chiefly 
in our management of the California Theatre. I had just arrived 
in Montreal, and upon calling at the theatre saw that a rehearsal was 
on. McCullough was pointed out to me, and I at once felt drawn 
towards him. During the rehearsal I was chagrined to hear one 
-of the actors using rather abusive and unbecoming language in the 
presence of the ladies of the company. A repetition of this I saw 
-very soon angered the good-natured John, who finally dragged the 
ungentlemanly fellow to one side and threatened to inflict corporal 
punishment if he did not at once desist. The threat, of course, had 
its desired effect After the rehearsal I wis introduced to Mr. 
McCullough for the first time. During Frank Drew's engagement, 
John and I went up to Ottawa, where we played "Othello." It was 
his desire to have a shy at Iago, and it was probably there that he 
first played that role. The theatre in Ottawa was then controlled 
by the Townsends. We repeated the performance in Montreal 
August 8. My engagement with Mr. Buckland was to have 
terminated on the eve of Charles Kean's opening. 14th August, but 
at his request I was invited to remain over a week longer to part- 
icipate in Mr. Kean's revivals. "I shall always remember the season 
of 1866. It was early in June when I set out from Cleveland en route 
to fulfil my annual engagement in Montreal. Arriving at Ogdens- 
burg, I was told that, owing to the Fenian scare, our boat would 
not be permitted to cross to Prescott. I had received a letter from 
Mr. Busckland imploring me not to disappoint him. So much in 
earnest was he that he guaranteed me $150 for the week. Naturally, 
I was in despair, but finally contrived to be rowed across the river 
•with my trunks. At Prescott I was surrounded by soldiers, who 
insisted upon examining my entire effects. The day was excessively 
hot, and there on the wharf, unsheltered from the sun, I was com- 
pelled to stand by and see my trunks rummaged through. The 
sword I used as Elliot Grey in "Rosedale" was confiscated. (Mr. 
Hill was the original Elliot Grey in Philadelphia.) Through the 
intercession of some friends, I subsequently recovered the sword. 
I also managed to arrive in Montreal in time to keep my engage- 
ment. Such was the public excitement, however, that my share of 
the week's business actually stood at $33. Mr. Buckland wished to 
stand by his contract, and proferred me the full amount of his guar- 
antee, but I declined to take advantage of his generosity, feeling that, 
after all, I had earned just what came to me under the circumstances. 
Mr. Buckland then made arrangements for a return engagement 
after I lad played in Ottawa. The tide had changed on my return, 
for we had excellent business, my share amounting to $150 for th£ 
first week in an engagement that lasted to September 20th. 

"In 1865 I became a member of Kilwinning Masonic Lodge in 

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Barton Hill married Marian Watts, daughter of Mrs. John Sefton, 
in 1861. They have four children, of whom three are daughters. 

It was in 1862, the year that Mr. Hill played his first starring 
engagement in Montreal, that he received an offer from Mrs. 
Garretson of the Walnut Street Theatre, Philadelphia, to take the 
place of Edwin Adams, that baritoned-voiced young melancholy* 
who left the fragrance of a beautiful memoiry to be refreshed until 
this day by the tears of those who love him still. Mr. Hill was pro- 
mised all the features and honors accorded to Mr. Adams, but there 
was a slight difference in the salary. He answered by telegraph : 
"I appreciate the honors, but expect the same salary. This was- 
granted him. He opened as Armand Duval to the Camille of Charlotte 
Thompson, and you who have kept the history as well as the senti- 
ment of the play in regard know that Dumas fils had not long been 
author of that matinee tear shower. With one exception. Mr. Hill 
was the first of an apostolic succession of unfilial Duvals catching 
at in sorrow and disappointment the fragrance that no comedian has 
to offer. In the same year Mr. Hill went over to the Arch Street 
Theatre as leading man for Mrs. Drew. He remained there with 
few intervals for ten years, and by his high intelligence and clear 
and firm conception of the parts he played he secured a hold upon the 
affections oi that city surpassed in the case of no artist, Mrs. 
John Drew herself alone excepted. He played a wide range of parts r 
but it was not only in the public estimation that he secured a high 

Barton Hill was a member of Edwin Booth's great company during 
the Winter Garden Theatre season. The theatre burned down on 
the morning of March 23. 1867. Edwin Forrest, who had been 
looking for an actor to replace John McCullough in playing parts 
second to his own, made Mr. Hill an offer, which was accepted, and 
in the support of the gigantic tragedian, he met with, unqualified 

John McCullough, acting on this recognition, called him to Cali- 
fornia to manage his theatre there, and during* that robust actor's 
successful career Mr. Hill cared for his local interests and was his 
partner in that splendid property so long as McCullough retained 
its control. 

Thus h was that the acquaintance and friendship first formed in 
Montreal continued steadfast and unbroken to the .end — twenty 

Barton Hill's brother, Robert H. Hill, mentioned in the first part 
of this article, is auditor of the Lake Shore and M.S. Railway Co.. a 
position he has held since 1858. Rosalie Hill married MacDonald 
Bridges, and their daughter is Mrs. Alexander Murray. Mr. Hill's 
home is at Paradise Valley, Munroe County, Pa. 

During the past two seasons Mr. Hill has been in the company 
of Nance O'Neil in Australia. 

His father, Charles Hill, died 23rd Sept., 1874. 

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VLN1KO BOWERS will be remembered as a very clever and 
pleasing comedian. He was for a few years closely associated with 
the Montreal stage, and a great favorite with theatre-goers here. 

Mr. Bower's was born in Philadelphia, Pa., April 23, 1835. He 
began his theatrical career at the Chestnut Street Theatre, that city, 
in 1849, as call boy and to play small roles. Ten years later he- 
went to New York, where he had obtained an engagement as second 
low comedian at Barnum's Museum. His next engagement was at 
Albany. He afterwards was engaged for principal low comedy roles 
at Washington, Philadelphia, Cleveland, Wheeling, New Orleans and 
other cities. He died in New York, August '18, 1878. 

Very few changes took place in the ranks of the support 


which was opened regularly 12th July. The principals to 
appear were Barton Hill, Alice Gray, Kate Denin, Emily 
Thorne and W. J. Scanlan among others. The feature of the 
season was the appearance of Emily Thorroe in u Aurora 
Floyd." Other pieces produced were "Ingomar," "Our 
American Cousin," a play which gave Mr. Hill much scope 
in true character of Dundreary; "The Octoroon,'' 'The Duke's 
Motto," "Macbeth," "The Marble Hsart," "The Wife," "East 
Lynne," "Lady Audley's Secret," and "The Loan of a Lover.'' 

EMILY THORNE belonged to that talented family which included 
C. R. Thorne, jun. A score of years has passed since Emily Thome's 
brilliant performance of Aurora Floyd was famous in the land. To- 
day she lives in quiet retirement, a handsome white-haired lady of 
independant means, quite philosophic of the theatre with its fitful 
, triumphs. Her first appearance on the stage was under her father's 
management in her eleventh year, about 1856. George C. Jordan was 
her first husband. After his death she married J. C. Chamberlin in 

WILLIAM J. SCANLAN, at the age of thirteen, was known as 
"The Temperance Boy Songster," and travelled through the country 
on that mission. This Irish comedian and vocalist was born at 
Springfield, Mass., in 1836. He at one time starred jointly with Tim 
Cronin, the Irish comedian, subsequently with Minnie Palmer for two 
years, and in the fall of 1881 he made his first appearance as a star, 
and for the first time sang in public his famous "Peek-a-Boo." Mr. 
Scanlan was forced to retire from the stage from the effects of paresis, 
an 1 died 18th Feb., 1898. 

Small troupes appeared in 1864, the Ravels and John Denier 
holding the boards at the Mechanics' Hall nth January, for 

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one week, and Wood's Minstrels at Nordheimer's Hall, for the 
season commencing 4th January. 

The Theatre Royal opened, 2nd June, 1864, with a French 
repertoire company from Niblo's Theatre, New York, for two 

The regular opening night for 


was 30th June. Vining Bowers acted as stage manager, and 
the stock company boasted of having for its leading man, the 
popular John E. McCullough. The opening bill was "On Deli- 
cate Ground'' and "The Serious Family." John McCullough 
made his first bow to Montreal play-goers 1st July, having 
come from Niblo's Theatre, New York. His debut here was 
in "The Stranger/' he in the title role and Mrs. Buckland as 
Mrs. Holler. He was afterwards seen in "The Iron Chest" 
and "Robert Macaire," "Lady of Lyons," "East Lynne," 
"Colleen Bawn," "The Hidden Hand," "Lucretia Borgia/' 
"Romeo and Juliet/' with Miss Kate Denin as Juliet; "Mac- 
beth," "Pizarro;" Mr. McCullough as Pizarro, Mrs. Buckland 
as Elvira, and Miss Denin as Rolla. Miss Denin closed her 
engagement 16th July in "Katherine and Petruchio." Sam 
Ryan was also in the company. Miss Madeline Henriqu'es 
appeared 18th July in "Clari, Maid of Milan," followed by 
"Th* Youthful Queen," "The Love Chase/' "The Hunch- 
back " and "Ticket-of-Leave Man." The Webb Sisters 
opened 1st August in "The Rose of Killarney," and closed 
13th, the most notable of their productions having been "The 
Lady of Lyons/' "Bride of Lammermoor/ , and "The Wan- 
dering Boys" for the close. Barton Hill came 15th, in Tom 
Taylor's "Ticket-of-Leave Man/' "Our American Cousin/' • 
and closed 20th with "The Corsican Brothers" and "The 
Idiot Witness." Emily Thorne appeared, 22nd August, in 
"An Unequal Match/' The season closed 5th September, 
but the theatre was kept open during September by a French 
repertoire company. Italian opera was also heard 14th, 15th 
and 1 6th November. 

THE WEBB SISTERS, Emma and Ada, were born at New 
Orleans, the former on the 18th June. 1843, and the latter on the 
18th Sept., 1845. They starred with but qualified success for some 
years, and later the elder took to the lecture platform In 1868. Ada 
married W. M. Connor, of Brooklyn, N.Y., and retired from the 

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john Mcculloch. 

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MADELINE HENRIQUES, born in New York, of Jewish parents, 
made her stage debut, Wallacks' Theatre, in i860. She remained there 
until 1867, when she married Louis J. Jennings, of London, sailing on 
the same day. 

JOHN EDWARD MeCUIXOUGH was one of the most genial and 
hearty of American actors. He made friends wherever he went and 
he owed his tremendous success as much to his personal popularity 
as to his talents. 

McCullough was born at Blakes, nean Coleraine, Londonderry, 
on the seacoast of Ireland, November 14, 1832. His father, James 
McCullough, was a ''small farmer/' His mother, Mary, died in 1844, 
leaving her son John, then a lad of 12, and three daughters. Their 
father was unable to provide for these children, and shortly after the 
mother's death they were obliged to seek their fortune in America. 
In the spring of 1847 John and his sister Jane came to this country, 
and, having a cousin named John McCullough in Philadelphia, they 
proceeded to that city. This cousin was a chairmaker, and in the 
business of chairmaking John McGuilough was employed. His 
father and the sisters, Mary and Elizabeth, followed to America 
shortly after. The father died at Moorestown, N.J., in 1878. He is 
remembered as a small, thin man, who spoke with a heavy brogue. 
He did not maintain intimate relations with his children. He was 
a faithful worker and an honest man, but he had no ambition, and 
he was .of a reticent and inoperative character. 

When John McCullough, a youth of fifteen, came to America, he 
could read, but he could not write. He had received no education, 
and he was ,in ignorance of literature and art. Dying thirty-eight 
years later, he had become a man of large and varied mental acquire- 
ments, a considerable scholar in the dramatic profession, and the 
most conspicuous heroic actor of his time on the American stage. 
No ancestor of his was ever upon the stage. Dramatic faculty, 
however, is one of the peculiar attributes of the Irish race. In 
McCullough it was developed by the accident of his meeting with a 
"stage-struck" work-man in the shop of the Philadelphia chairmaker. 
This person made him acquainted with the tragedy of "Richard the 
Third," and stimulated in him a taste for reading Shakespeare. One 
of his first steps toward the stage taken at this period was his affilia- 
tion with "The Boothenian Dramatic Association." His experience 
at this time led him to bnanches of learning apart from the stage. 
One of the books that he read was "Chamber's Encyclopedia pf Eng. 
lish Literature," and;in less than a month he had absorbed the whole 
of it, becoming so familiar with its contents that he could descant on 
the British authors as if he had been trained for nothing else— so 
eager was his zeal for knowledge and so retentive was the memory 
in which he stored it. He early married Letitia McCain. 
McCullough's theatrical career, beginning in 1857 and ending in 

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1884, covered a period of twenty-seven years. His first engagement 
was made at the Arch Street Theatne, under the management of 
Wheatley and Drew, and his first appearance there was made August 
15, 1857, as Thomas in "The Belle's Stratagem." E. L. Davenport, 
at that time manager of the Howard Athenaeum, in Boston, engaged 
him at that theatre, where he remained for one season — that of 1860-61. 
In the ensuing season he was back again in Philadelphia, engaged at 
the Walnut Street Theatre. Here he was when presently he attracted 
the notice of Edwin Forrest, who chanced ta be in need of an actor to 
play the parta second to his own, and who procured his release from 
Mrs. Garretson and gave him an engagement for leading business. 
This was " the tide which taken at the Hood leads on to fortune'* McCul- 
lough's first appearance with Forrest was made at Boston in October, 
1861, in the character of Pythias. From this time he had a clear field 
and he advanced in the open sunshine of success. 

For some years he and Lawrence Barrett were joint managers of 
the California Theatre, and it was during this association that he 
first acted Virginius and one by one added to his repertory the other 
grea,t parts to which he had formerly played seconds under the leader, 
ship of Forrest. It was not until May 4, 1874, that he made the first 
appearance as a star in New York, presenting himself as Spartacus in 
"The Gladiator." His first appearance as a star in Philadelphia was 
in the Arch Street Theatre in the spring of 1876. Thenceforth, until 
the end, his career was an uninterrupted success, and in prominent 
cities leading citizens honored him with public banquets. In April 
and May, 1881, he played a successful engagement in London at the 
Drury Lane Theatre, where his Virginius and Othello won high 
encomiums. In April, 1884 while playing in Williamburg, it became 
apparent that his powers were broken. 

In June 1884, he went to Carlsbad, Bohemia, for his health. He 
had also shown signs of weakness in Cincinnati the month before 
at the Dramatic Festival. His last appearance on any stage was 29th 
Sept., 1884, at McVicker's Theatre, Chicago, as Spartacus, His acting 
on the fatal night clearly showed his great physical and mental weak- 
ness. He required frequent prompting, and in the death scene he 
nearly broke down. Some of the audience hissed and jeered. McCul- 
lough came before the curtain at the close, and looking around 
ironically, and with a half dazed expression that would have moved 
to pity a more intelligent gathering, faltered out: "This is the best- 
tnannered audience I ever satv. If you had suffered as I have you would 
not have done this." He died 8th Nov., 1885. A monument to his 
memory stands in Mount Moriah Cemetery, Philadelphia. It re- 
presents the tragedian in bronze as Virginius. The inscriptions on 
the monument are as follows : 

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"His life was gentle, and the elements 
So mixed in him that Nature might stand up 
And say to all the world: 'This was a man.' 

"Manliness and meekness in him were 

so allied that they who judged him 

by his strength or meekness 

saw but a single side." 

Here was returned to the clasp and kiss of the universal mother 
one of the noblest souls ever housed in human clay, one who like 
those effluent oriental rivers that come down from the eternal snows 
and wind luxuriantly amid palms and plumes and break dazzlingly 
into silver jets at every obstacle— this broad stream, bountifully laden 
with the gifts of heaven and richly tuned with the voice of earth, 
narrows and lingers, and, with sad silence, sinks into the sand. 


A remarkable feature in Montreal theatricals during 1865 
is recorded by Mr. Henry Hogan, who writes me that John 
Wilkes Booth played a short engagement under the Buckland 
management, preliminary to the regular opening. Mr. Hogan 
says that after his performance was over Booth would hurry 
over to the "Hall" and down to Joe Dion's billiard rooms to 
play with the best in the city. He was here just a week or 
ten days before the assassination of Lincoln ; in fact, when, the 
news reached here it was recalled by the friends of Booth that, 
just before leaving Montreal, he told them that they would 
hear in a very short time of something which would startle 
the world. His act on 14th April, 1865, caused a terrible 
sensation in this city, more especially among his theatrical col- 
leagues and friends from the South, whom he had met at the 
41 Hall." 

JOHN WILKES BOOTH— The appearance of John Wilkes 
Booth in Montreal during the year 1864 marked an interesting 
feature, although calling up memories of history that remain gloomy 
and sad. Mr. Fred Leclair, manager of the Theatre Royal, is in 
possession of a programme gotten up on the occasion of an entertain- 
ment consisting of a selection of readings given by Booth at the 
solicitation of a number of his citizen friends at Corby's HalU St. 
Joseph, 5th January, 1864. In reply to the request for the readings, 
Booth wrote as follows: — 
"Thomas Harbine, John L. Bittingjcr, P. L. McLaughlin: 

"Gentlemen :— Your flattering request has just been received, and 
I endeavour to show my appreciation of it by the promptness of my 
compliancy. I have gained some little reputation as an actor, but a 
dramatic reading I have never attempted. I know there is a wide 


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distinction, as in the latter case it is impossible to identify one's self 
with any single character. But as I live to please my friends, I will 
do all in my power to please the kin'd ones I have met in St. Joseph. 
I will, therefore, designate Tuesday evening, 5th January, at Corby's 

"I am, very respectfully, 


The selection of the readings consisted of "The Shandon Bells," 
the trial scene from "The Merchant of Venice," "Selections from 
Hamlet," "The Remorse of the Fallen One/' or, "Beautiful Snow," 
and "The Charge of the Light Brigade." 

Later in the season, Booth became for a few months a member of 
the Theatre Royal Stock Company, under the Buckland management 
The late Henry Hogan r?cords that, after his performance was over, 
Booth would hurry to Dion's billiard-rooms to play with the best in 
the city. "He was here just a week or ten days before the assassina- 
tion of Lincoln," Mr. Hogan once wrote, "in fact when the news 
reached here it was recalled by the friends of Booth that just before 
leaving Montreal he told them that they would hear in a very short 
time of something which would startle the world. His act on 14th 
April, 1865, caused a terrible sensation in this city, more especially 
among his theatrical colleagues and friends from the South. John 
Wilkes Booth, youngest son of the tragic genius, Junius Brutus 
Booth, and brother of the greatly esteemed Edwin Booth, but for his 
insane acts might have become one of the greatest actors of his epoch. 
Gifted with unusual personal beauty, supple and graceful in form, 
dignified and attractive in his bearing, essentially dexterous in the use 
of the sword, with a dare-devil in his nature which subsequently led 
him to the commission of the greatest tragic act of the age, — he 
carried with a brain power a subtle intuition of Shakespearean 
character which made him an ideal Hamlet, although he never seemed 
to have his heart on the stage, saying that there could hardly be room 
for himself and his brother, Edwin. His natural genius was so great 
that under proper conditions any career was within his reach. His 
friends were unable to associate the man as they knew him, with his 
gentle, sympathetic ways, — his quick interest in what appealed to his 
charity, which was boundless as his pride, — with his terrible doom. 
As this phantom fades away, we recollect only what was human in 
this rash, hot-headed youth of twenty-six, as we throw a flower upon 
his grave in sorrow for his act and fate, with its appalling conse- 
quence to the gospel of liberty, to mankind, and to his distracted 
relatives. A glorious career was beckoning to him, but his last words 
summed up the fruit of his existence : 'useless !' 'useless !' " 

The 1865 Company was again headed by John McCullough, 
supported by Vining Bowers, Jas. A. Heme, Keller, J. R. 

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Spademan, Clarke. S. J. Barthe, Holmes, Barton, Miss 
Georgie Reignold, J. Clarke, Lizzie Leigh, Annie Wood and 
Mrs. Hill. The season opened 13th May with " The Fate of 
a Coquette." The celebrated actress, Mary Gladstane, made 
her first appearance 15th in " The Hunchback," followed by 
"Lady Audley's Secret," "Averted Bride," "Lucretia 
Borgia," "The Wife." "Plot and Passion," "East Lynne," 
and " The Hidden Hand." Ida Vernon was seen 29th, 
opening her engagement in " The Fate of a Coquette." Then 
followed "The Robbers," " London Assurance," " The Iron 
Chest," "Hamlet," and "The Stranger." Julia Daly appear- 
ed 12th June, followed by productions of "Our Female 
American Cousin," " Ticket-of-Leave-Man," "Richard III." 
Helen Western made her appearance 3rd July, in "The 
Flowers of the Forest," then in " Don Caesar de Bazan," 
"Wept of the Wishton Wish," "The French Spy," and closed 
22nd July. Frank Drew came 24th, and appeared in "Handy 
Andy," " Mazeppa," " Irish Emigrant," " Comedy of Errors," 
and closed 5th August with " Rory O'More." Barton Hill 
and McCullough were seen in "Othello," 8th August, and, 
later, in "The Marble Heart." The event of the season was 
the appearance of Mr. and Mrs. Charles Kean, from the 14th 
to the 18th of August, in "Henry VIII.," "Merchant of 
Venice," "Hamlet," "Much Ado About Nothing" and "Richard 
II." This is the only record of "Richard II." having been per- 
formed in this city. Admission to the boxes was $10; first 
gallery, $1.50; second, 75 cents; pit, 50 cents. Tremendous 
crowds sought to gain admittance at each performance. The 
pit entrance in those days was through a passage, since con- 
verted into the office, and on one occasion, as the crowd was 
struggling to get in, a small boy shouted "Fire!" There 
was no panic, however. It was a common sight to see as 
many as 1,400 soldiers crowded into the pit. The Keans 
were supported by John McCullough, J. F. Cathcart, Barton 
Hill, G. Everett and Miss Chapman. Speaking to me of this 
season, Mr. Hill said: — 

"My engagement with Mr. Buckland was to have terminated on th~ 
eve of Charles Kean's opening, but at his request I was invited to r 
main over a week longer to participate in Mr. Kean's revivals. M- 
and Mrs. Kean were accompanied by J. F. Cathcart and G. Everet* 
There was the utmost harmony and good fellowship in accepting th- 
distribution of the various roles. Mr. Kean was in poor health an ' 
failing memory, and was obliged to depend much on Messrs. Cathead 

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and Everett, who understood his business thoroughly. The opening 
was in "Henry VIII.," Mr. Kean as JVolsey, and myself as the King. 
In "Hamlet" Mr. Cathcart was Laertes; Mr. Everett, Horatio; Mr. 
McCullough, First Player and Osric; and myself, the Ghost'* 

John McCullough had a farewell benefit 19th in "Black- 
Eyed Susan," on, which occasion J. F. Cathcart appeared by 
permission of Charles Kean. The favorite little comedienne, 
Lotta, made her first appearance here on the 21st of August in 
"Po-ca-hon-tas," followed by "Lola Montez" and "Betsey 

The first performance of "Uncle Tom's Cabin" in Montreal 
was givra on the 26th August. Col. T. Allston Brown, after 
a careful research, declares that the first " Uncle Tom's 
Cabin'' play of which he can find any record was written by 
Prof. Hewett, of Baltimore, and was produced at the Museum 
in that city January 5, 1852. The season closed 31st August 
with Christine Zavistowski in "Massaniello," and other operas. 

FRANK DREW was an excellent comedian of the old school 
and a brother to the elder John Drew, who died in 1862. The 
brothers resembled each other very much, and their performance 
of the two Dromios was capital. Frank appeared for some time at 
Philadelphia under the management of his sister-in-law, Mrs. John 
Drew. Frank Drew was born in Dublin, 29th October, 1831. He 
was brought to America by his parents in 1837, and first appeared 
on the boards in his eighth year. His first appearance at Phila- 
delphia was in 1853. In 1850 he married Mrs. C. L. Stone. 

JAMES A. HERNE made his debut as George Shelby in "Uncle 
Tom's Cabin" in 1859. He was born at Troy, 1st February, 1840. 
For the major portion of his stage career this man steadfastly pur- 
sued all that was best in his calling, and he long since reached a 
point sufficiently near his ideals to entitle him to the bravos of the 
critics and the salvos of the populace. And yet for years he had 
been quite outdistanced in the race for general favor and critical 
consideration. His well-known play of "Hearts of Oak" was the 
source of some revenue to him for several years, but latterly he 
could only produce it at the cheap theatres, until his star rose 
several seasons ago in his "Shore Acres," and he has acquired 
fame and fortune. He had a spiritual magnetism that drew to him 
souls of his kind, and without robe or sceptre he swayed an empire 
that had sworn no allegiance yet which gave its unconscious tribute 
of laughter and of tears wherever he raised the standard of his 
heart. He married Helen, sister of Lucille Western, during their 
■ojourn in Montreal as members of the stock company of 1865, the 
event taking place at the old St. George's church, on St. Joseph 

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TnTrl 'f AUgUS l ° f thEt yean Hden Wcstern had m «ried a -Bal- 
timore lawyer but was divorced. She died in Washington nth 

2TT2S i ' '/ ged "t Mn HernC managed the the " re S 
for a short time dunng 1870. Jas. A. Heme's last play in which he 

starred during the season of 1900 is entitled "Sag Harbour." He 
died 3rd June, 1901. 

n rrT B r E IlOTTA I*™ CharIotte Crabtree. born 
in New York in 1847) first appeared as a vocalist at the age of six as a 
member of a variety troupe, of which her father was at the head. She 
romped and skipped, picked the banjo and danced the breakdown in 
so lively a manner that she soon made a name. John Brougham, 
who was one of her earliest managers, called her "a dramatic cock- 
tail, and he was not far wrong. She was the incarnation of drollery, 
of mischief and of broad farce, and as such became the most popular 
of soubrettes. In comparing Lotta to Maggie Mitchell, who, until 
their retirement, were the two oldest and best known song and dance 
artists on our stage, a friend remarked, "they keep their youthful 
appearance so well that they seem to be getting younger every year. 
I expect any morning, looking over the newspapers, to find their 
names among the births. ,, Lotta Crabtree, once the pet of the public, 
declares that she never so much as thinks of going upon the stage 
again. She has taken up painting, and has become a very clever 
amateur artist. 

Under the management of Ben De Bar, the most import- 
ant people to appear during 


were Barton Hill, Vining Bowers, Chas. Dillon, James Car- 
den, Geo. F. Rowe, C. J. Fyffe, S. J. Barthe, Mrs. F. W. Lan- 
der, Mary, Lizzie and Emma Maddern, Helen Western, Lucy 
Rushton, Cecile Rush and Mad. Marie Celeste, who had ap- 
peared here as early as 1835 at th e old Theatre Royal. The 
season opened 2nd June with "Kate O'Shiel," "Jones' Baby," 
and "A Day Too Late." On 4th Barton Hill was seen as 
Lord Dundreary, and Vining Bowers as Asa Trenchard, in a 
production of "Our American Cousin." "The Stranger" was 
Riven 7th, with Hill as the Stranger, and, on nth, Mad. Celeste 
appeared in "Green Bushes," followed by "Flowers of the 
Forest/' "The French Spy." "Woman in Red/' closing her 
engagement 23rd with "The House on the Bridge." Charles 
Dillon made his reappearance, after an absence of two years. 
25th, opening in "Richelieu," following in "Macbeth," "Bel- 
phegror," "Hamlet." "Richard III..- "Othello," "A New Wav 
to Pay Old Debts," "Artist of Florence," "Used Up," and 

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made his last appearance 7th July as King Lear, supported by 
George Fawcett Rowe, this being Mr. Rowe's first appear- 
ance in Montreal. On 9th July Helen Western appeared, and 
on 12th Lucy Rushton was seen in "Ogairita/' following in 
"Black Dominoes/' "As You Like It" and "Lady of Lyons." 
A notable feature of the season was the appearance of Mrs. 
F. W. Lander {nee Jean Margaret Davenport). Slue had ap' 
peared here in 1839 as a youthful prodigy. It is generally 
supposed that it was she whom Charles Dickens travestied in 
" Nicholas Nickteby " as the " infant phenomena/' Minetta 
Crumtnels. Her engagement began 23rd July, when Knowles' 
"Love" was produced, followed by "Lady of Lyons," "Mes- 
alliance," 'The Hunchback/' "Romeo and Juliet," and "Char- 
lotte Corday" for the close. Cecile Rush began a short en- 
gagement 30th July, as Fanchon in "The Cricket on the 
Hearth/' "Ida Lee/' etc. On 6th August Barton Hill made 
his first appearance in "The Dead Heart," assuming the role 
of Robert Landry. "The Corsican Brothers" was staged 7th 
and 8th, and he again appeared 9th as Caleb Plummer in "The 
Cricket on the Hearth." Charles Reade's "Never Too Late 
To Mend " was first staged 13th and 14th, with Barton Hill 
as Thomas Robinson, James Garden as George Fielding, and 
Vining Bowers as Peter Crawley. Productions of "Lost in 
London/' "Wallace/' "Dundreary," "Ticket-of-Leave Man" 
and " Streets of New York" were presented successively ; and 
on 20th Lucy Rushton was re-engaged, opening in "As You 
Like It," "She Stoops To Conquer," "The Brigand/' Bouci- 
cault's "Duel in the Dark/' "School for Scandal/' "Satan in 
Paris," "Honeymoon," and closed with "Three Black Seals/' 
1st September. The Maddern Sisters (Mary and Lizzie) be- 
gan a season 5th September in "The Fall of Robespierre." 
Mary Maddern had terminated an engagement under De 
Bar's management at his New Orleans and St. Louis Theatre 
Companies. James Carden benefiated, 7th, in "The Iron 
Mask/' when Lily Wood Carden made her Montreal debut. 
"The Octoroon" was billed 8th, and "Never Too Late To 
Mend" was presented 10th, with C. J. Fyffe as George Fielding. 
This was followed by "The Three Guardsmen/' 12th; "The 
Willow Copse," 14th; and Miss Braddon's "Henry Dunbar," 
17th, with. Barton Hill as Dunbar, Vining Bowers as The 
Major, and C. J. Fyffe as Clement Austin; "Rob Roy," 18th; 
"Our Airerican Cousin " and "The Rough Diamond," 20th; 

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Lizzie Maddern as Margery, and S. J. Barth as Cousin Joe, in 
the latter piece. Barton Hill had a benefit, 20th, in "How 
She Loved Him/' and "Robert Macaire," followed by two of 
Boucicaulfs plays, "The Colleen Bawn" and "The Life of An 
Actress," Money," "The Marble Heart," "Fan Fan La 
Tuhpe," " Camille," in which Mary Maddern was seen as 
Gauthier, and Hill as Duval. "La Tour de Nesle" was fol- 
lowed by other pieces, chiefly repetitions, and the season 
closed 6th October with three pieces, "Not Such a Fool As 
He Seems," "Love in Livery " and "Toodles." 

CHARUSS J. FYFFE, born 16th Sept., 1830, had a stage career of 
exactly forty years. His first appearance, he informs me, was in 1852 at 
Memphis, Tenn., as the Doctor in Tobin's "Honeymoon." From small 
parts he gradually advanced, until in a few years he played leading 
business in the support of all the leading stars of the period. He 
has played in the West Indies and in South America, as well as all 
over the U. S. and Canada. His last appearance in Montreal was dur- 
ing his last season on the stage in support of Edward Vroom, at the 
Queen's Theatre, during the last week of Sept., 1892. After his 
long service, Mr. Fyffe has retired to that ideal little spot, Holmes- 
burg, known as the Forrest home, where, in company with 
a few other veterans, the days pass but too quickly in the ex- 
change of interesting reminiscence. Mr. Fyffe is the librarian of the 
home, and is an exceedingly entertaining gentleman, possessing a 
considerable fund of anecdotes, most of which relate to his own 
personal experience while in close association with the great actor 
whose memory will be forever kept green by the munificence of his 

CECtLE RUSH died 12th August, 1897, at Cornwall-on-the- 
Hudson, where she had lived for several years. She was sixty-three 
years of age. Her first appearance on the stage was at the Walnut 
Street Theatre, Philadelphia, March 17, 1856, when she acted Bianca 
in "Fazio." She played for one week. Her debut was most suc- 
cessful. She appeared as Julia in the "Hunchback," as "The Countess 
in Love," as Margaret Elmore in "Love's Sacrifice." She then went 
West, and in 1859 was touring the country, giving, with considerable 
success, dramatic readings. During the season of 1862-3 she was a 
full-fledged star, and appeared in the various stock theatres, opening 
February 16, 1863, in Cincinnati, as Bianca. Col. Brown says that, at 
that time Mrs. Rush was considered one of the handsomest actresses 
on the American stage. Nature had been bounteous in her bestowals 
upon Cecile Rush, but all that nature could bestow would avail little in 
assisting her to attain her position as an artist had not stern and 
rigid study been accessory. She was possessed of all the requisites 

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an actress should be blessed with, viz., a beautiful face and eyes, an 
expressive countenance and a splendid figure. Her talents won for 
her a handsome fortune, but she retained nothing. Genius is prone 
to be impulsive and cannot be methodical; and while she could 
create she could not control. 

THE MADDEBN SISTERS, Emma, Lizzie and Mary, enjoyed a 
considerable portion of public esteem. Emma, born in 1847, was 
brought out by Ben DeBar. In 1866 she married James M. Nixon, 
but is now the wife of R. E. Stevens. For five seasons she has been 
a valued member of the "Grand Avenue Stock Company/' Philadelphia, 
Lizzie married Thomas W. Davey, manager of the Detroit Opera 
House, and was the mother of Minnie, now the wife of the intrepid 
Harrison G. Fisk, proprietor of the "Dramatic Mirror," and her- 
self one of America's representative actresses. Lizzie Maddern died 
in 1879. Mary never married. She is a member of her niece's 

JAMBS GARDEN played in nearly every country of the globe. 
He was born in Ireland in 1835, but his stage life began in America* 
When at the old Jenny Lind Theatre in San Francisco he played the 
servant in "The Iron Chest" to the Mortimer of the elder Booth. 
This was the occasion of Junius Brutus Booth's first appearance in 
California and of the first appearance as Wilfred of Edwin Booth. 
In 1858 he came East In 1865 he was engaged by Mrs. John Drew 
as leading man of the Arch Street Theatre Stock in Philadelphia. 
Later he was a brilliant member of the famous Wallack-Davenport 
combination. After travelling for two more seasons with Lucille 
Western and with John McCullough he was engaged by George 
Coppin to go to Australia. He is said to have been paid the then 
almost unprecedented salary of $500 a week. Onward he went to 
India and thence to Africa. Then he received a fine offer from the 
Court Theatre in London, where he filled engagements under Charles 
Reade and Wilson Barrett. He married there Lucy M. Heraud, 
daughter of John Heraud, editor of the London Athenceutn. He next 
went starring through the provinces of Great Britain, until Augustin 
Daly brought him from England for a leading part in "The Flash 
of Lightning." After playing some months in this melodrama Mr. 
Carden joined Madame Janauschek's company to play Macbeth, and 
other leading parts. Another trip to Australia followed, where 
he remained three years and then returned to San Francisco, where 
he delivered the closing address in the old California Theatre. Of 
late years Mr. Carden had played engagements with various legiti- 
mate combinations. He joined the Forepaugh Stock in Philadelphia, 
Jan. 20, 1896, and was a member of that organization at the time of 
his death, 23rd March, 1898. His wife died a year before. 

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included Vining Bowers, Jas. Carden, C. Walcot, Jun., F. F. 
Mackay, S. S. Cline, J. Gobay, Chas. Hillyard, E. B. Denison, 
S. J. Barth, Mark Brook, Maitre Claude, Thos. Placidc, Effie 
Germon, Celia Logan, Emma Cline, Nellie Stewart, Kate 
Browning, Mrs. C. Walcot, Jun., and Mrs. Barton Hill. R 
Dickson was the scenic artist. The season opened 3rd June, 
with "Married Life," followed by "Everybody's Firiend, ,, "The 
Octoroon/' "The Husband at Sight " and "Colleen Bawn." 
On 17th and 18th June, Parepa Rosa gave two operatic con- 
certs, assisted by Theodore Hadleman, Sig. Feranti, Sig. For- 
tuna, Carl Rosa and S. Behren. The balance of the season 
passed without noteworthy incident, the principal produc- 
tions by the stock company being "The Lost Will," "Kate 
O'Sheil," "Invisible Husband," "Time Tries All," "Money," 
"Waiting for the Verdict/' "Ours," "Guy Mannering," 
'Ladies' Club," "Kathleen ^xavourneen, ,, and "Kenilworth," 
in which Lady Don appeared 1st July. 


those splendid fellows of the 78th Regiment who relieved 
Lucknow, whom the people of Montreal had the honor of 
having among them from 1867 to 1869, were conspicuous in 
their support of the theatre. 

PAREPA ROSA first came to this country in 1865. She was then 
Euphrosine Parepa, known as one of the most brilliant of the dramatic 
sopranos, who had created a furore in Europe by her superb voice as 
well as by her fine appearance. Parepa was a lyric-dramatic singer 
after the old Italian method, having been taught in that school by her 
mother, Mme. Parepa, who was a celebrated Italian prima-donna in 
the 4o's and so's. Her father, Signor Archibuchi, was an Italian im- 
pressario and musical agent. Euphrosine was born in London in 1840. 
At the age of seventeen she was engaged for the winter season at the 
Grand Theatre of Malta, where there was an English colony. She 
made her debut in "Somnambula," scoring an immediate success. She 
went to London, where she married an English officer, but continued 
to sing, and became one of the greatest oratorio singers in England as 
well as in America. Her husband after a few years died in Santiago, 
Chili. He left debts of several thousand dollars, which she paid from 
the earnings of her American tour. She married Carl Rosa in 1867. 
De Vivo arranged a tour of concerts and operas for New York, 
April and May, 1867, under the title of the Parepa and Brignoli Con- 
cert and Opera Company, with the result that Parepa* s and Brignoli's 

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shares of the profits were $12,000 each. The organization continued 
until Parepa Rosa's death in 1874, when she left a fortune of £80,000 
to her husband, who carried on the Carl Rosa Opera Company 
until his death in i8go. 

F. F. MACKAY has been a pedagogue, manager, painter and 
playwright, and is still all of these, although returning more and more 
to his first love as the years pass, and. is more than all a teacher. He 
was born in New England in 1832, and was brought to New York in 
his early youth, where he gleaned his first knowledge of the stage 
from the Murdock Dramatic Society late in the forties. Among his 
associates in that Society were W. J. Florence, George Boniface, Jane 
Coombs, Emily Wilton and Maggie Mitchell. He adopted the 
stage as a profession in 1851-52, but shortly afterwards became a 
schoolteacher. He returned to the stage in 1857, appearing with 
various stock companies through the South and West until 1865, when 
he joined the forces of Mrs. John Drew at Philadelphia, where he 
remained until 1871. Mr. Mackay has played nearly a thousand 
character parts from Shylock to Uncle Tom, and in every dialect from 
Scotch to Chinese. His last engagement was in support of W. H. 
Crane 1896-97, since which he has been conducting a dramatic school 
in New York. 


included Charles H. Vandenhoff, Owen Fawcett, A. W. 
Young, H. A. Langdon, G. H. Griffith, Thomas Burns, Jane 
Cameron, Kate Ranoe, Mrs. Buckland and Jennie Gourlay. 
Maffit and Bartholomew's Spectacular Co. opened the season 
20th July. Chas. Vandenhoff benefited in "Hamlet/* 6th 
August, Miss Ranoe being the Ophelia. The tragedienne, 
Mary Gladstane, played a star engagement, as also did 
Yining Bowers. A French Opera Troupe appeared, also 
true Hanlon Bros., Fanny Herring in "The French Spy," Vio- 
let Campbell in "Leah," and, on 24th October, the tragedian, 
Edwin Adams, began a short engagement in "Hamlet/ 1 "Mac- 
beth/' "Wild Oats/' "Richard III./' "Romeo and Juliet," and 
"The Marbte Heart." The Hanlon Brothers made their first 
appearance at Montreal at Northerner's Hall, 6th October, 

CHARLES H. VANDENHOFF, an actor of intelligence and 
originality, was the son of George Vandenhoff, inheriting much of 
his histrionic talent. He was born in England in 1850, and was 
only in the outset of his career when he was first seen in Montreal 
as leading man of the stock company at the Royal in 1868 for a sea- 
son of three months. His experience was a varied one in t«he support 
of various stars. In 1888 he acted Jacques in "As You Like It," with 
Modjeska, and supported her in other important roles. His acting 

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in "The Chouans" with her was also the subject of critical commenda- 
tion. His last appearance in Montreal was in "Paul Kauvar " week 
nth February, 1889, at the Academy of Music, when he played the 
role of Honor* Albert Maxime. He died at Seattle, Wash., April 30, 


JAMES S. MATFITT was to the present juvenile generation 
lamous principally as the impersonator of the Lone Fisherman in "Evan-' 
gchnc," with which extravaganza he had been identified since the 
original production in 1870 at the Boston Museum. Another creation 
of Maffitt's was the role of Wahnotee, the Indian, in Dion Bouci- 
cault's original production of 'The Octoroon." He was also the 
original of comedy parts in "The Twelve Temptations" and "The 
Devil's Auction." When George L. Fox revived the popularity 
of pantomime, Maffitt entered the field against him with success. He 
retired in 1894, and died at Baltimore, 16th April, 1897, aged 65. 

OWEN FAWCETT was born in London, Nov. 21, 1838. When 
but two years old he was brought to this country, and thenceforth 
America was his home. The Fawcetts are a noted family on the English 
stage. There were two John Fawcetts, father and son, the elder 
a comedian of Garrick's day, who died in 1792, and the younger 
a celebrated player of the early part of that century. He was 
born in 1769, died in 1837, and was the cousin of Charles 
Fawcett, grandfather of the subject of our sketch. Charles 
Fawcett was a member of Macready's company for several years, 
and a popular provincial actor; of his two brothers, John, came to 
America in 1795, and acted in all our leading theatres, while William 
remained in England, and after a career at the Surrey Theatre and as 
an imitator of leading London actors, retired from the stage to keep 
a small book hop in Radnorshire, Wales, where he died. Owen Faw- 
cett's father, also named Charles, was an actor at Hull, England, in 
1826, and gave up the stage on coming to America. He was born Oct. 
13. 1805. in Stafford, and died in Philadelphia on 27th July, 1867. 
In 1853 Owen Fawcett began his career as a professional actor, 
making his debut on Dec. 7, at Norristown, Pa., as young George 
Shelby in one of the earliest dramatizations of "Uncle Tom's Cabin." 
On July 4. 1861, Mr. Fawcett made his first appearance in New 
York at the Academy of Music, as Mr. Wadd in support of tht 
Florences and Mr. and Mrs. Barney Williams in "The Irish Lion." 
He was at Winter Garden under Booth and Clarke in 1864. With 
the season of 1871-72 began Mr. Fawcett's seven years' association 
with Augustin Daly. Between these notable appearances the comedian 
was also seen as a member of various Summer Stock Companies, 
From January to August, 1886, he was with Modjeska, and for 
the four subsequent seasons played low comedy roles in support of 
Edwin Booth, Booth and Barrett, and Booth and Modjeska. In 1890- 
91 he spent his first season in Sothern's company, and then, after a 
five weeks' engagement in the fall of 1891, in support of Minna Gale, 

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took an extended vacation* and travelled through Great Britain and 
the principal countries of continental Europe. His home is in De- 
troit, and is a centre of delight to the lover of theatrical lore. The 
treasures it contains in the way of scrapbooks, old play bills, por- 
traits and curiosities carry pleasure to every one interested in the 
stage, and prove that Mr. Fawcett is a skilful and cultured authority 
on the history of the American drama during the past forty years. 

FANNY HERRING was born in London, 6th April, 1832. She 
was about ten years of age when she appeared on the boards. Her 
name, up to her retirement a few years ago, had always been associated 
with the sensational drama, in which she met with some success. She 
married in 1868. Miss Herring resides in a little cottage of her own 
in Connecticut. Her once jet black hair is now snowy white. Her 
sons, David and Frank, are both married and have large families. 
Miss Herring has six grandchildren, of whom she is very proud. 

HENRY A. LANGDON, a native of Philadelphia, first appeared 
on the boards 18th August, 1849, at the Arch Street Theatre. His 
first wife, Emily Rosalie Reed, died in 1857, aged 25. His second 
wife, Annie Senter, died in 1867. Mr. Langdon was a useful stock 
company player, and is still before the public. 

EDWIN ADAM S was one of the most promising and versatile 
actors of the American stage. He was born at Medford, Mass., 3rd 
February, 1834, and first appeared on the stage as Stephen in the 
"Hunchback," at the National Theatre, Boston, 1853. His first great 
success was in 1863, when he produced "Enoch Arden/' appearing in 
the title role at Baltimore. His great roles were Rover in "Wild Oats/' 
Melnotte, Frank Hawthorne in "Men of the Day," Adrian in "The 
Heretic/' William in "Black-Eyed Susan/' and as Macbeth. During 
his Australian tour he became a great favorite, but lost his health, 
and returning home died in Philadelphia. 28th October, 1877. Mr. 
Adams was a whole-souled and open-hearted man, who knew of 
no use for money except to spend it. It was a beautiful life prema- 
turely ended. It was a brave strong spirit suddenly called out of 
the world. 

The lease and management of the theatre passed into the 
hands of the well-known American tragedian, J. W. Albaugh, 
in 1869. Among the members of the company were Mary 
Mitchell Albaugh, Ada Harland, Nellie Mortimer, Mrs. Hill, 
Frank J. Evans, Robert Duncan and G. C. Daveaport. The 
season was opened 3rd May by the Ixion Burlesque Co. 
"The Lady of Lyons/' "After Dark," "East Lynne," "Kath- 
leen Mavourneen," "Richard III.," "Fazio," "Hunchback," 
"Ingomar " and "The Stranger " were produced successively. 
Alice Marriott, a strong and capable actress, opened 21st May, 
playing the title role in "Hamlet/* following in "Macbeth." 

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"Romeo and Juliet" and "Jeannie Deans." Joseph Proctor 
reappeared in Montreal ist June, after several years, in 
Knowles' "Virginius." He was also seen in "Ambition" and 
"Nick of the Woods." 

Harry and Rose Watkins followed in "Kathleen Mavour- 

Madame Moreau was then seen in "The Romance of a Poor 
Young Man," followed by Oliver P. Doud in "Lady of 
Lyons," "Richard III.," "Fashion/' "Macbeth," "Idiot Wit- 
ness," "£100,000," and closed 26th June owing to the illness 
of Miss Marriott. From ist to 14th July a French Company 
from Porte St. Martin Theatre, Paris and New Orleans, held 
the boards; and on 15th and 16th Signor P. Brignoli gave 
farewell concerts. Gregory's Vaudeville Co. opened 2nd 
August for one week, followed by the character actor, G. L. 
Davenport, with the Clodoche Company. The remainder of 
the season was taken up by the Morris Combination, Vining 
Bowers and Barton Hill, in "Rosedale," closing 18th Septem- 
ber with "La Tour de Nesle." Several Minstrel Troupes ap- 
peared from time to time until the end of the year. 

JOHN W. AliBATJGH was born in Baltimore, 30th Sept., 1837, 
and first appeared on its stage in his eighteenth year as Brutus in "The 
Fall of Tarquin." He appeared as Hamlet the following month, and 
was well received. A series of engagements followed, and in 1865 
we find him supporting Chas. Kean in New York. He then went 
on a starring tour. During 1868 he was manager of the Olympic 
Theatre, St. Louis, Mo., and in 1869 manager in Montreal of the 
Theatre Royal. He married Mary Mitchell in 1866, became manager 
of Leland's Opera House, Albany, in 1873, and held its lease for 
several years. He and his wife undertook several starring tours, and 
in 1878 his work in "Louis XL/' at Daly's Theatre, New York, was 
highly praised. He afterwards managed the Lafayette Square Opera 
House, Washington, and the Lyceum Theatre, Baltimore. Mr. 
Albaugh retired from the stage after his performance of Shylock 
with the Lyceum company, Baltimore, 9th Dec, 1899. 

ADA HARIiAND, the daughter of an eminent English surgeon, 
was born in London, Eng., on the 22nd of December, 1847. She made 
her professional bow at the St. James' Theatre, 8th March, 1862, as 
Theodore in "Friends or Foes." She was one of the several accomp- 
lished young women who accompanied Lydia Thompson to America, 
the troupe opening at Wood's Museum, New York, 28th September, 
1868, with Miss Harland as Jupiter in "Ixion." She was a good 
dancer and a very fair player. 

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AIJCE MARRIOTT, one of the many clever artists sent from 
England, graduated from a provincial troupe, and first appeared in 
the English metropolis in 1855. She crossed over in 1869, making 
her American debut on the 29th of March, New York, in the char- 
acter of Hamlet, supported by J. F. Cathcart and J. W. Albaugh. 
Mi»s Marriott subsequently married Robert Edgar, the London 

MARY MITCHELL AXBAUGH i s a sister to Maggie Mitchell, 
and was born in New York, 12th Nov., 1834. She began starring in 
1863, and three years later married John W. Albaugh. Her first 
husband was the late J. W. Collier, from whom she was divorced. 

HARRY WATKINS was born in New York, 14th Jan., 1825, and 
made his first appearance on the stage in 1839. He married Rose 
Howard in i860. During his lifetime he played with all the leading 
actors and actresses of the day. His last appearance was in Phila- 
delphia in the autumn of 1893. He died 5th Feb., 1894. 

The opening of 


was a remarkable one, marking the occasion of Prince 
Arthur's visit tot Montreal, and patronage to a benefit perfor- 
ance given to J. W. Buckland by a company of amateurs, who 
performed 'Tollies of a Night," and "The Irish Lion," 3rd 
January, followed by the appearance of Ben De Bar in a short 
engagement. E. M. Leslie, of the Boston Theatre, opened 
the regular season on the 30th of April, as business manager 
for seven performances. The company included Kate Reig- 
nolds and W. F. Burroughs. The pieces produced were "Frou 
Frou " for the opening, "East Lynne '' and "The Married 
Rake.'' A French company followed in an extended reper- 
toire, running several weeks; and, on 25th May, Mr. and Mrs. 
Howard Paul, the well-known artists, made their first appear- 
ance here.. 

James A. Heme assumed the management of affairs 30th 
May, Miss Lucille Western opening in "East Lynne," and 
following in "Green Bushes," "Rip Van Winkle," etc., and 
closed the following month. Ella Wren and Chas. Waverley 
were in the support. Brignoli's Opera Company played an 
engagement during July, followed by the reappearance of the 
old favorites, Vining Bowers and Kate Reignolds in "The 
Lady of Lyons," "The Wonder," and other standard pieces. 
Marietta Ravel, sensational actress, was seen during the first 
week in August in "The French Spy." An interesting en- 

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gagement was that of Kate Reignolds during the last week of 
August. Van Leer and Phillips began an engagement on 
the 19th of September in "All that Glitters is not Gold," 
after which a company of acrobatic Japanese held the boards, 
followed by Nellie Nelson in "Mazeppa," and "Living Female 
Groups from Berlin/' 28th of October. Walhalla's Variety 
Troupe was seen in November, and Ida Leslie's Combination 
produced "Love's Sacrifice," "Camille," "Nell Gwynne," "Col- 
leen Bawn," "Under tire Gaslight/' "Othello," etc. In the 
support were, besides the star, A. R. Phelps and Norman S. 
Leslie. They held the boards one week from the 14th of 

M. D. B. St. Jean appeared in feats of magic during the 
week of the 26th December, closing one of the dullest seasons 
artistically as well as financially since the opening of the 
house. James Taylor, English comedian; Ada Alexandra, 
prima-dona; George Cline, baritone; and the Freeman Fami- 
ly, appeared at Mechanics' Hall during August. 

BENEDICT DE BAR was born in 1812 in London. His father was 
French. He was given a good school education, after which he be- 
came a stroller. He came to America in 1834, making his debut at the 
Bowery Theatre, and in 1842 we find him managing the affairs of 
that house. From 1850 to 1854 he was lessee of the Chatham Street 
Theatre, New York, but abandoned it to go South, where he became 
an immense favorite. He became the acknowledged best interpreter 
of Falstaff in the South and West before the war, while the East and 
North preferred and proclaimed Hackett as their champion. He was 
at one time worth over half million dollars, but lost the greater 
part during the war. The curtain was rung down at St. Louis in 1877, 
His wife, Harriet E., died at the Forrest Home, 24th Aug., 1894. 

Harry Lindley records that 

MISS MARIETTA RAVEIi was very handsome, shapely, and her 
stage presence magnetic. Her favorite role was in "The French Spy/' 
but she also did good work in "The Wizard Skiff" and "Wept of 
the Wishton Wish" (from Fenimore Cooper). She imbued the im- 
passible pantomimic dramas with so much volatility as to make their 
palatable to the public. She was also an adept tight-rope walker, and 
in one of these dramas used her skill in escaping from the villain by 
crossing over a river on a rope, accompanied by pizzicato music and a 
balancing pole. It is recorded that she only had one speaking part, 
that of Cynthia in Buckstone's "Flowers of the Forest." There was 
only one fault, and that was in her having been tutored in the part by 
Pat Connolly, a good swordsman, but deficient in the Queen's Eng- 

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lish. In that one speech she innocently revealed the parentage of her 
lingual instructor by saying "fetthered and bound." Marietta Ravel 
was born in 1847, and retired from the stage a number of years age 
to become the wife of Martin W. Hanley, for many years manager of 
Harrigan's Theatre, New York, and now engaged in looking after the 
interests of R. B. Mantell. 

HOWARD FAUX, a Philadelphian, who met with some success 
in England in 1852 as a comic writer, made his stage debut at Bath in 
1854, in a vaudeville sketch. He married Miss Featherstone, who 
accompanied him on two American tours in 1866-69. 

SIGN OR LUIGI BRI6HOU is remembered as having been the 
favorite tenor on this continent for thirty years- He was a pupil 
of Joseph Pasquale Goldberg, of Paris, and made his first appearance 
in America in February, 1855, at the Academy of Music, New York, 
under the management of Ole Bull. He was under the management 
of the Strakoschs from 1858 to 1864, then went to the Theatre des 
Italiens, Paris. He supported Nillson in 1870 and 1871, when she 
first appeared in the United States, and also in 1875-76, and was 
with Mapleson in 1879. He died in 1884. 

IDA LESLIE, born 18th March, 1844, first appeared on the stage 
in San Francisco under the management of A. R. Phelps. She 
married Norman S. Leslie in 1863. 


brought more variety to our theatre-goers, and the deficiency 
of the previous year fully made up and amply recompensed 
at the bills of fare catered by various managers. The season 
opened 10th January by the Holman Opera Company, who 
held the boards until 28th, followed by a lull until 10th April, 
when E. M. Leslie and G. E. Locke assumed the management, 
opening with "Richelieu at Sixteen." The old favprite, 
Fanny Herring, played a week from 17th, followed by Fox 
and Denier's "Humpty-Dumpty," week of 24th. John W. 
and Mrs. Albaugh, supported by the St. Charles Theatre 
Company of New Orleans, came 1st May, and opened in 
"Eustac^e." This was their first appearance in two years. 
Mr. Albaugh represented Ben De Bar, who leased the theatre, 
as manager. The company was a powerful one, and included 
John W. Norton, John Davis, R. G. Wilson, John Hurst, 
Francis Kenny, T. McNally, T. Morton, H. W. Mitchell, 
Mark Quinlan, M. B. Curtis, Eugene Eberte, J. R. Grismer, 
C. Wildman, W. Lane, G. Moore, Miss Amelia Waugh, Hattie 
Vallee, A. Moore, Kate Quinten, Ida Raymond, Mrs. Van- 

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deeren and Miss Winton. "The Hunchback" followed the 
opening bill, and productions of "The Ticket-of-Leave Man " 
and '"Ihe Robbers" were then seen, prior to the first appear- 
ance in Montreal of the celebrated Alice Oates in a repertoire 
of standard operas. Among the members of the Oates Com- 
pany at this time was included William H. Crane. The fam- 
ous comedian was then only at the outset of his successful ca- 
reer. In a recent letter Mr. Crane makes this characteristic re- 
mark, "I have not played in Montreal since, but hope to/' Mr. 
Albaugh was seen as the Dane 29th May, and, on 30th, Mrs. 
D. P. Bowers, supported by her husband, J. C. McCollom, 
made her first appearance here in a short engagement, termin- 
ating 3rd June, in productions of "Lady Audley's Secret,'' 
"Marie Stuart" and "Macbeth." In the last mentioned pro- 
duction Mrs. Bowers was the Lady Macbeth, J. C. McCollom 
the Thane, and Albaugh Macduff. The appearance of John E. 
Owens 5th June was quite noteworthy, the great comedian 
being seen during a short engagement in "Solon Shingle," 
"Heir-at-Law " and 'The Poor Gentleman." The engage- 
ment of Owens was followed by that of Frank Drew in 
"Temptation," and "Rip Van Winkle/' week of 12th June. 
On 19th June, Dominick Murray made his first star appear- 
ance here in "Escaped from Sing-Sing." A production of 
"Othello," 3rd July, introduced J. W. Albaugh as the Moor, 
and J. W. Norton as Iago. The Chapman Sisters followed in 
opera, and on 10th July J. K. Emmett made his first star 
appearance here. A bright feature of the season was the re- 
turn of Charles Mathews, 31st July, in a round of characters 
lasting one week. D. H. Harkins appeared as Dazzle in 
"London Assurance," and as Macbeth 19th August. The dis- 
tinguished actor, Lawrence Barrett, opened a week's engage- 
ment, 28th August, in " The Man o' Airlie," following in 
"Julius Caesar " and "Rosedale." This was his first appear- 
ance here, and his last in this City was at the Academy of 
Music, week of 18th May, 1885. Following Mr. Barrett's 
appearance was that of Lillie Eldridge, from 4th Sept., in re- 
pertoire ; then Joseph Murphy, for the first time here on 2nd 
October, in F. G. Maeder's "Help." The last day of the De 
Bar-Albaugh season was 14th October, when the Coleman 
Children appeared at the matinee in "Love's Sacrifice," and 
in "The Rising Generation," and "Little Sentinel' for the clos- 
ing performance in the evening. The season had certainly 


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been a record-breaker for excellence, and most notable in 
introducing a number of most eminent stars. 

The actress, Kate Ranoe, became sub-lessee of the theatre 
from 16th October, inaugurating what became known as 


A. R. Phelps was manager. The opening bills, "Kenil- 
worth/' and the farce of "The Clockmaker/' introduced Julia 
and Sallie Holman, both of whom subsequently became very 
closely associated with the Montreal stage as members of the 
celebrated Holman Opera Company. On the 30th of October 
Lillie Lonsdale and J. A. Meade, as principals of the stock 
company, were seen in "Under the Gaslight," followed by 
"Jessie Brown," "The Golden Farmer/' "The Man in the Iron 
Mask," "Revolt of the Commons," and "Colleen Bawn." The 
Ranoe season closed on the 27th of November with "Kath- 
leen Mavourneen" as the bill, in a benefit to Miss Ranoe. 

r* ____ 

A. R. PHELPS was born at Granby, Conn., 19th February, 1824, 

His debut was in the role Othello at the Greenwich Street Theatre, 

New York, in 1845. In 1854 he accompanied the Denin sisters to 

California, remaining until 1866. He was married to Frances R. 

Bickford, a non-professional, in 1849. 

ALICE OATES in those days had a sweet voice, a lovely figure . 
and a winsome way about her that went direct to the hearts of the 
people. She made enormous sums of money, but she wasted it like 
water, and it is on record that in 1875, after playing four straight 
months in San Francisco to the capacity of the house, she had to 
borrow money to carry herself and her company east. Her last ap- 
pearance in Montreal was at the Royal in a two weeks' engagement 
from 21st December, 1885. Her financial condition was said to be 
lamentable, and physically she was a wreck. She deserved a better 
ending, but it only goes to show how quickly a public favorite may 
wane. She was for many years among the foremost exponents of 
opera bouffe in America. She was born Sept. 22, 1849, in Nashville, 
Tenn., and was put on the stage by James A. Oates in Cincinnati about 
1865-6, at which period they became man and wife. He died July 14, 
1871. When he married her she was Alice Merritt, and was one of 
the four sisters. On Sept. 16, 1867, they opened at the new Nashville 
Theatre, Tenn., in "A Tale of Enchantment," and in 1868 were tra- 
velling with the Oates-McManus "Undine" troupe. Meanwhile she 
had sung at different points in the West in concert under the name 
of Mile. Orsini. When the Hess troupe produced "The Field of 
Cloth of Gold" at the Opera House, Chicago, in February, 1869, she 

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made a hit as Darnley. On November 23, 1872, she was married to 
Tracy W. Titus, her business manager, from whom she was granted 
a divorce in 1875. On May 17, 1879, she was wedded to Samuel P. 
Watkins, then a non-professional of Philadelphia, who afterwards 
was her business manager. A cold contracted in April, 1886, in a 
badly heated dressing room of a theatre compelled her to disband 
her company and return to Philadelphia, where she died, January 10, 

DANIEL H. HARKINS i s a native of Boston, where he was 
born 27th April, 1835. He made his professional debut in 1853. During 
the war he' served on General Slocum's staff, and returned to the 
stage after five years' absence. Mr. Harkins is a capable and very 
interesting actor. 

JOHN W. NORTON, a useful stock actor and manager, was well 
known in several parts of the country. For a short time in 1877 he 
managed the Academy of Music, Montreal, and was also closely 
associated with Ben De Bar as a manager of his Opera House in New 
Orleans. It was under Mr. Norton's direction that Mary Anderson 
made her first stage appearance. Suddenly and terribly his life was 
ended in railroad collision at Coatesville, Indiana, 29th Jan., 1895. 

W XLLIAM H. CRANE was born at Leicester, Mass., 30th April, 
1845. He evinced decided musical taste at an early age, and in July, 
1863, joined the Holman Opera Company, composed of young people. 
He remained with this company seven years, being possessed of 
a powerful baritone voice. His first salary was less than $10 a week, 
but at the end of the second season the offer of $15 from a rival 
organization deprived the Holmans of his efficient services, but he 
soon returned to them at a salary of $20 a week. The repertoire for 
each night consisted of acts from operas, burlesques and pantomimes. 
There was no falling into a rut with a rehearsal call that compelled 
the player to be up in the title role of the farce "Paddy Miles," as 
Count Arnheim in "The Bohemian Girl," as Dr. Dulcamara in "The 
Elixir of Love," and as the clown of the pantomime, all for one and 
the same evening, a task that not infrequently fell on young Crane's 
shoulders. His next connection (1870-74) was with Alice Oates' 
opera company. Here he was principal comedian, and was identifi- 
ed with the hit of "AH Baba" at Niblo's Garden. Later, he was the 
very first LeBlanc, the notary in "Evangeline," and then he abandoned 
burlesque for comedy, appearing first with the Hooley stock company 
of Chicago. The stock exchange inspired Crane with the idea of 
hitting off the peculiarities of certain brokers, and here he struck a 
vein which he has since worked with great success. Returning east, 
he was seen in "Our Boarding House," 1876-77. and soon afterwards 
he and Stuart Robson went into partnership. Their two Dromios, 
in Shakespeare's "Comedy of Errors" became a household word, and 

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Bronson Howard's "Henrietta" was at first their joint property. Then 
Crane decided to strike out for him self (1889;, and in "The Senator" 
won both fame and fortune. He lost some of the latter as Falstaff 
in "The Merry Wives of Windsor/' but quickly retrieved his error 
of judgment by securing Martha Morton as his playwright in chief. 
His Elisha Cunningham in "A Fool of Fortune " was an artistic 
creation. Mr. Crane has also met with much success recently in a 
dramatization of Westcott's famous novel "David Harum." > 

DOMIHICK MURRAY. Few members of the profession, whether 
as actors or managers, have had a wider or more varied experience 
than Dominick Murray. His impersonations have embraced every 
phase of stage character: Othello, Richard, Romeo, Shylock, Harlequin, 
clown, pantaloon, hornpipes, jigs and comic songs. After five years' 
probation in the English theatres, associated with such celebrities as 
Gustavus Brooke, Charles Dillon, the elder Vandenhoff, Chas. Math- 
ews Charlotte Cushman, Helen Faucit and others equally eminent, 
Mr. Murray embarked for Melbourne, Aus., where he opened at 
Coppin's Olympic as Paddy Murphy in "The Happy Man." At the 
Antipodes, by acting and management, he quickly made money ; 
entered into partnership with Alexander Henderson in mining specul- 
ations, and quickly lost it, and returned to England, to succeed Dion 
Boucicault as Myles na Coppaleen at the Adelphi Theatre, London. 
Following this came a starring tour of the English provinces, be- 
ginning at Cambridge, in a version of "The Woman in White/' in 
which Henry Irving, at that time a member of the stock company, 
played Henry Hartright. Eventually, after a few starring and mana- 
gerial ventures, Mr. Murray's services were retained as principal 
comedian and character actor for the Princess' Theatre, where he 
opened in a serious leading role, and appeared during the same even- 
ing as Paudeen O'Rafferty in "Born to Good Luck," achieving imme- 
diate success and enviable popularity. At the Princess he continued 
three seasons creating many original types of characters notably 
Michael Feeny in "Arrah-na-Pogue," Crawley in Charles Reade's drama 
of "Never too Late to Mend," Dicey Morris in "After Dark," and the 
leading comedy parts in "A Cup of Tea," "No. 1 Around the Corner," 
and numerous other farces. Migrating for a single season to the 
Olympic, then under the management of Benjamin Webster, he 
appeared in several of the Burnand and Byron burlesques, singing 
and acting the female caricature roles in a falsetto voice. This rather 
unpleasant engagement terminated, he returned to the Princess to 
give an entirely new reading of Shylock in "The Merchant of Venice." 
Mr. Murray's reading of the character was subsequently adopted by 
tragedians who are now very eminent indeed. Notwithstanding his 
unequivocal success and popularity, Mr. Murray's highest salary in 

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London was £12 per week. So much for English managerial liber- 
ahty. During the summer of 1867, being compelled by private busi- 
ness to visit New York, he was induced by Jarrett & Palmer to 
appear at Niblo's Garden, and at that theatre, in conjunction with 
Dan Bryant and Rose Eytinge, he made his American debut, October 
2, as Michael Feeny in "Arrah-na-Pogue." Counselled by Joseph 
Jefferson, Mr. Murray soon after contracted with Spalding, Bidwell & 
MacDonough to visit St. Louis, Memphis and New Orleans. Then 
came engagements at McVicker's Theatre, Chicago; Macauley's, 
Cincinnati ; Ellsler's, Cleveland ; the Globe, Boston, and in various 
other cities, his repertory comprising Shylock, Monte Cristo, Mickey 
Free and two Irish dramas written by the author of "A Midnight 
Marriage.'' For the past fifteen years Mr. Murray has been among 
the recognized American stars. Occasionally he sought relief from 
the monotony and fatigue of travelling by playing certain stock en- 
gagements—notably one season at Booth's under Dion Boucicault, 
and three seasons at the Madison square, with Steele Mackaye. To 
join the latter gentleman he declined a leading position at Wallack's. 
In 1872 he translated and produced, under the title of "Escaped from 
Sing-Sing," Edouard Plouvier's "Mangeur de Fer." He is also 
responsible for translations of "Le Portefeuille Rouge," "Le Fou 
par Amour," "Les Rues de Paris," "Le Pere Lefeutre" and "Micael 
L'Esclave" (presented at Wood's Museum under the title of "Peril"), 
which title was afterwards used by Bartley Campbell and more recently 
by Mrs. Langtry. His latest success was in "Master and Man." The 
actor's real name is Morogh, by which he is known off the stage. 
Since retiring from his professional pursuits a few years ago, Mr. 
Morogh has lived on his farm at the Back River, a few miles out of 
this city, which property he acquired some years ago. 

MRS. D. P. BOWERS' characterization of Queen Elizabeth was. 
a marvellous one, was also her Lady Macbeth; and in her line had 
few equals and no superior. Her maiden name was Crocker, the 
daughter of the Rev. William A. Crocker, an eminent Episcopal 
clergyman of Stanford, Conn., where the actress was born 12th March, 
1830. Her first stage appearance was at the Park Theatre, New York, 
16th July, 1846. A year later she married David P. Bowers. After 
his death in 1857 she retired from the stage for a time, but married 
Dr. Brown, of Baltimore, in 1859. She made her debut at London in 
1861, and in 1867 again became a widow. James C. McCollom became 
her leading support in 1863, and on 29th January, 1883, became her 
third husband as well. He died in the same year, and Mrs. Bowers did 
not re-marry. After a short retirement she resumed her professional 
inclinations and played starring engagements in all the principal cities 
of the United States with little interruption up to the time of her 
death, 6th November, 1895. 

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JAMES C. MoCOIXOM was an accomplished actor and a pleas- 
ant gentleman. He was born at Buffalo in 1837, and made his first 
bow at Lockport, N.Y., in 1858. From 1863 until the time of his 
death in 1883 he starred with Mrs. D. P. Bowers in a legitimate re- 
pertoire, and, as already noted in Mrs. Bowers' sketch, was married 
to that lady. He had, at the time of his demise, won his way to the 
front rank of his profession, and was capable of holding that rank. 

JOHN EDMOND OWENS was known in several parts, but the 
part with which his name is most prominently identified is Solon 
Shingle. He was born in Liverpool, 2nd April, 1823, and came to 
America with his parents when a mere child. First appeared on 
the stage at the National Theatre, Philadelphia, in 1845. In 1849 he 
was joint manager with Hann, and from that time, until his death, in 
1886, he was a successful actor and manager. William Winter recalls 
him as one of the most lovable men that have graced and cheered 
the stage. 

M. B. CURTIS attained much cheap fame and many dollars in 
"Samuel of Posen." His real name is Maurice B. Strelinger, and he 
was born at Detroit. During his sojourn at Montreal he married a 
French Canadian lady, Albina DeMer. He was never seen here in 
Samuel, but it was produced for the first and last time, week of 21st 
November, 1887, at the Theatre Royal, with Frank Howard in the 
title role. 

The value of personal magnetism was never more pointedly illustrat- 
ed than in the case of 

JOSEPH K. EMMETT, an actor of the most limited range, who 
built up a reputation and a fortune on the flimsiest foundation of 
artistic merit. Born at St. Louis, Mo., 13th March, 1841, he graduated 
upon the stage of a variety theatre there in 1866. He made a special- 
ty of those vulgar Teutonic eccentricities known upon the stage as 
"Dutch business." He possessed a good eye for character, a very 
sweet and flexible voice, and a redundant fund of natural humor of 
the coarse order. His creation of "Fritz" won the popular heart at 
once. He made the journey round the world, his popularity being as 
marked in the Antipodes as in America. The end came at Cornwall. 
N.Y., 15th June, 1891. 

LAWRENCE PATRICK BARRETT died in New York, 20th 
March, 1891, aged 53. Here came the lowering of a curtain so unlike 
that to which Mr. Barrett was used. There was no gaudy flare of the 
footlights; the music of tuneful orchestra was unheard, and there 
was naught but the sobs of those who stood beside the couch of death. 
At that moment almost Mr. Booth was enacting Macbeth's death 
agony at the Broadway, wholly unaware of the passing away of his 

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friend and partner. Mr. Booth survived his friend until 7th June 
1893, when he in turn passed away. Mr. Barrett had been happily 
married since Sept. 4, 1859 when he led to the altar of a Catholic 
church in Boston, Mary F. Mayor. From this union came three 
daughters— Mary Agnes, now the Baroness Von Roder, a resident 
of Stuttgart, Ger. ; Anna Gertrude, who married Joseph Anderson, 
brother of Mary Anderson, and Edith M. Barrett, who was married 
to Marshall Williams, of Boston. Lawrence Barrett was an actor 
of indomitable purpose, of high aim, of scholarly intellectuality and of 
courageous enterprise. It has been said, and said most truly, that 
censure or criticism is easier given by most people than" just praise or 
encouragement. When alive, Lawrence Barrett moved among an 
army of critics, but he moved like a general among his recruits. Some 
never saw anything beyond his "mannerisms," and these character- 
istics of his individuality displeased men even more eccentric than 
he appeared to them. He may have "stalked" across the stage, but, 
by the gods, give me the triumphant walk of the elephant among the 
bulrushes rather than the soughing of an offensive wind. Who 
ever saw his Jamie Harebell that did not sit down and think, and 
dream of better things than dreamed of before ? Who could with 
perfunctory interest watch Jamie's touching caress of the flowers 
that so reminded him of the dead loved wife ? The whole was a 
sweet idyll, where tears were more good than laughter ; where 
human sorrow often seems more blessed than joy. Lawrence 
Barrett was loaded with a grand force that was not often shot off at 
random. There was no end to his intensity and depth of feeling, 
Perhaps he lacked judicious supervision, but I do not want to dwell 
on this any more than I would wish to muzzle the joyous energy of 
the first bird of spring. His Hamlet was an interpretation of Shakes- 
peare that was full of flesh and blood and poetry; his Cassius was the 
best we have ever had ; his Yorick a piece of noble intensity ; his 
Gringnoire and his Harebell exquisite poems. 

Subordinating copious declamation to intense feeling, Lawrence 
Barrett taught the mission of Wordsworth's fine precept. 

"Keep, ever keep, as if by touch, 
Of self-restaining art t 
The modest charm of not too much — 
Part seen, imagined part." 


was opened by J. W. Buckland on the first day of January, 
with a French repertoire company, for two weeks. They 
were followed by the Holman Opera Company on the 15th of 
January, for a season of three months, the event marking the 
first of a long line of successes at this theatre. The principals 

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were Sallie, Julia and Alfred D. Holman, together with their 
parents, George and Harriet Holman, H. C. Peaks, J. Brandisi 
and W. H. Crane. Harry Lindley made his first appearance 
in Montreal immediately following the Holman season, and 
was seen in "The SpitaJfields Weavers *' during a short sea- 
son. On 16th April a company of amateurs tendered a bene- 
fit testimonial to J. W. Buckland in " Kate O'Sheil, or the 
Irish Brigand," and "A Morning Call." The cast included 
Harvey Bawtree, Major Woosley, F. W. Mackay Green, of 
6ist Regiment, F. Hart, Col. Hamilton Gray, Mrs. Buckland 
and Lillie Lonsdale. "The Veteran" was also presented 22nd. 
From this time Mr. Buckland's connection with the theatre 
ceased. He died 20th November of that year. 

The regular season opened 6th May under the management 
of Ben De Bar. J. W. Wallack, Jun., was the leading man, 
and in the company were Miss Waugh, Oliver Wren, Alex. 
D'Orsay Fitzgerald, Ogden, Alexander, John Davis and P. 
Gteason. The opening attraction was "Henry Dunbar," fol- 
lowed on 8th by "Hamlet." Dominick Murray appeared 13th 
for one week, and Marietta Ravel opened 20th in "The French 

Barton Hill produced " Rosedale," 24th, and Mr. and Mrs. 
Harry Watkins came 8th July in "Under Two Flags," "Kath- 
leen Mavourneen," "Pioneers of America," "Hidden Hand," 
and "School for Scandal." Lillie Eldridge, 15th July, in 
"Mignon" and "Caste," followed by M. W. Leffingwell 
in "Hot Coals " and "Cinderella." Oliver D. Byron 
came, 5th August, for one week, in " Across the Contin- 
ent," then J. W. Albaugh, 12th, in "Poverty Flats/' and 
standard repertory. Ben De Bar produced "Henry IV.," 
19th, and was also seen later in his engagement as 
"Paul Pry," " Toodfes " and "Jack Sheppard." The 
popular actress, Charlotte Thompson, began for one week, 
9th September, in "One Wife," subsequently appearing in 
'•Madeline," and "Rich and Poor." Kate Fisher appeared in 
"Mazeppa," and "The French Spy," week 23rd, and on 30th 
J. W. Wallack, Jun., opened in "Hamlet," following with 
"The Merchant of Venice," "Still Waters Run Deep," "Henry 
Dunbar," "Don Caesar de Bazan," and "Macbeth" for the 
close, 7th October. Hogan, Mudge and Muster came week 
9th October, and the prodigy, Blind Tom, made his appear- 
ance 28th. The Holman Opera Company began a season 2nd 
December, which terminated with the year. 

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MR. AND MRS. GEORGE HOLMAK. Mr. Holman was born in 
New York city in 1814, and made his debut in 1836 at the Chestnut 
Street Theatre, Philadelphia, Pa., as a ballad singer. His first New 
York appearance was made at the Park Theatre as a tenor. He subse- 
quently sang with the Cooper Opera Company at Palmo's Opera 
House, and with Mme. Anna Thillon at Niblo's Garden. He married 
Mrs. Harriet Phillips, an actress and singer of repute. After the 
death of his daughter, Sallie, he mourned and fretted, until eventually 
his grief was the cause of his death. His whole mind was centered 
iri the hope that he would soon lay at rest beside her in Woodlands. 
George Holman died at his home, London, Canada, 13th October, 
1888. In twenty years, his appearances on the stage had been few, 
confined almost to infrequent performances of "Fra Diavolo." In pri- 
vate life he was a most entertaining companion, a well-read student, 
fond of rare books and collections of curiosities. Mr. Holman was 
an enthusiastic fisherman, and devoted a good deal of attention to 
natural history, of which he was considered an authority. Mrs. 
Holman was born at Portsmouth, Eng., about 1824, Harriet Jackson 
being her maiden name. She came to this country in the thirties and 
married a Mr. Phillips. Her second husband was George Holman, 
with whom she first appeared in London, Can., in 1840. After playing 
in various companies they joined the stock at Burton's Chambers 
Street Theatre, New York city, September 3, 1849. They remained 
members of that company for seven years. Later they formed the 
Holman Opera Company, with which they toured the country. On 
May 23, 1864, they opened Mrs. Holman' s Broadway Opera House, 
formerly Hope Chapel, with the opera "Cinderella," and the operetta 
of "Mrs. Partington." Toronto then became their headquarters, Mr. 
Holman leasing the Royal Lyceum of that place. In 1870 they 
returned to London, Canada, and took hold of the Music Hall, rebuild- 
ing the place. It was called the Holman Opera House, and in this 
place, which was torn down 'about sixteen years ago, was witnessed 
their productions of comic and grand opera. After this they toured 
the States and Canada, and eventually landed again in Toronto, leas- 
ing the Royal Opera House for two years. They toured again in 
1883. In 1884 they met with great success in a Canadian tour. The 
last appearance of the Holman Company was in the spring of 1885. 
Among those, who were in the Holman Company were W. H. Crane, 
Signor Perugini, William Davidge, jun., J. T. Dalton, Johnie O'Con- 
nor and Brookhouse Bowler. Mrs. Holman had superb musical talents, 
and was the instructor in all the productions during their career. The 
reputation of the company made the Holmans celebrated, especially 
in the Southern States. Sallie, Julia and Allie, their daughters, were 
all good singers, the first two named being among the brightest 
operatic stars the stage then knew. Besides the daughters, two sons 
were also members of the company, Benjamin and Alfred D. For 

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several years prior to her death Mrs. Holman had lived in retirement. 
In the winter of 1896 she personally conducted the performance of 
"Cinderella" in London, by amateurs, and she then directed the 
entire performance without a printed note. This was her last appear- 
ance in public. The active time of her life was one of devotion to 
both her profession and family. She was a friend in need to many in 
distress. She loved to have visitors, and those who first learned their 
accomplishments under her supervision were the most welcome. 
Some three years ago a complimentary benefit was tendered to her 
by W. H. Crane in New York. Mrs. Holman' died at the old home- 
stead in London, Canada, 21st of May, 1897, leaving one brother, 
Abraham Jackson, of Detroit, Mich. A brother of her husband is 
living in London. James T. Dalton, her son-in-law by marriage to 
Sallie, is a teacher of music, living in London. The only remaining 
member of the Holman family now alive is Alfred D., who is living 
in London, Can. 

SALLIE HOLMAN, who married J. T. Dalton, died on the 7th 
of June, 1888. 

HARRY LINDLEY was well known throughout the Canadian 
provinces, having for some thirty-five years been almost altogether 
associated with Canadian theatrical ventures. The comedian was born 
at Dublin in 1836. Abandoning his first intention of following the 
surgical profession, he entered the British service at the age of 
eighteen. He eventually took to the stage, however, and in 1855 
at Newcastle made his initial bow as an actor. Being left some 
means he retired five years later, but reappeared in 1863 in com- 
pany with his wife, Florence Webster, with whom he came to 
America in 1866, first appearing together at Boston. They sub- 
sequently came to Canada, where they have appeared in every im- 
portant town. Mr. Lindley has essayed the managership of theatres 
in every city, but his success has not been pronounced. 

OLIVER DOUD BYRON first produced "Across the Continent," 
12th September, 1870, at Albany, N.Y. It had had a dress rehearsal 
at Toronto a few days before. Byron went to Albany with fifty cents 
in his pocket, and left with '$6oo. He had at last found the vehicle 
to carry him on the road to wealth. Mr. Byron is a native of Balti- 
more, and has been indentified with the dramatic profession since 1859, 
and since 1870 has starred himself with modest artistic but financial 
success in the sensational drama. He is married to Kate Rehan 
(Crehan), sister to Ada Rehan. 

CHARLOTTE THOMPSON was an accomplished actress and a 
good woman. She was born in 1843 at Bradford, Eng., and was the 
daughter of Lysander Thompson, an actor. She made her first regular 
appearance in New York as a member of Wallaces company in 1857 

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as Phoebe in "As You Like It," and meeting with much success 
shortly afterwards began starring. Later, she appeared in a drama- 
tization of Charlotte Bronte's well-known novel of "Jane Eyre," 
and her success in the title-role was so great that her name ever 
since has been identified with that play. Miss Thompson married 
Loraine Rogers, of California, in 1867, and for some years resided on 
her plantation, near Montgomery, Ala. Previously to the death of 
Mrs. D. P. Bowers, that excellent actress and Miss Thompson were 
joint stars for a season. Miss Thompson had been in practical retire- 
ment for five years previously to her death, which occurred 22nd 
April, 1898. 

BUND TOM. People have been asking: "Is Blind Tom dead ?" 
He lives in the wooded, sea girt acres of the Highlands of Navesink, 
where one can see the great ships go down to the sea, and watch the 
seasons grow and fade in leaf, bud and blossom of glorious woods. 
He sits in the open air and mimics bird and beast. When weary of 
nature, he goes back to his life's solitary star that rose in his heaven 
at his birth. For hours he sits at the piano playing his old * pieces, 
without technical knowledge of time or note, or harmony, yet remain- 
ing apart in his genius from all others — the untutored master of 
melody. The piano in the hallway is his resting place for hours. 
For years he has lived his public life over in daily private rehersal, 
makes his bow, goes to the instrument, plays the old tunes, and jump- 
ing up, bows and applauds and "bravoes" heartily. In the pleasant 
weather he tires of the piano, and sitting in the grounds plays an 
imaginary pianoforte in the air, imitating perfectly the sound. He 
bows his thanks to the birds and dogs — and incidentally scares the 
passer-by out of his senses and adds to the reputation of an already 
"hoodooed" house. Blind Tom was born at Columbus, Ga., in 1848. 
He was born in American slavery ; he was one of a numerous tribe 
who adored him ; he was the awe of his masters, the admiration of 
his equals. The little blind negro was, of course, relieved from all 
field duty and allowed to hang familiarly about the great house. 
Here at 5 years of age he showed the wild desire to listen to music, 
then to vehemently insist upon handling the instrument. His art 
of imitation reached a perfect stage so rapidly that he was regarded 
with unabated fear by the negroes. "He was hoodooed, sure," 
was their verdict. He was brought North by his master, Col. 
Bethune (killed 1883), in i860, and first appeared in New York 
City at the Hope Chapel, 15th January, 1861. In 1863 he went to 
Europe and on his return travelled all through the United States 
and Canada. He was the product of the plantation. While never 
a master of classical music he played to the people: that satisfied 
majority to whom Wagner is as sounding brass, and Chopin as tink- 
ling cymbals. His melody was essentially sentimental. Every one 
remembers his performances. The crowded playhouse ; the audience 

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hushed by admiration dashed with superstitious awe, the imbecile 
negro, robust, wholesome, hopelessly blind, who walked to the piano 
and played brilliantly the tunes of the people. Wild applause which 
he poor soul, echoed as he bowed. The manager stepping forward 
asks pianists to come up and play. One after another complies. 
Blind Tom listens without interruption. At the final chord he is led 
to the piano, and striking splendidly into the selection, imitates his 
predecessors with every shade of feeling reproduced, no delicate minor 
toning evaded. 

MHLON WTNSLOW LEFirNGWEIX, born 21 st March, 1828, 
died in New York, 10th June, 1879. 

George Holman was the manager and lessee of the theatre 
during the early 

season of 1873, 

which opened up on the first day of the year with "The Lot- 
tery of Life." Kate Fisher came, 6th January, in " Mazeppa," 
for the week, followed by Winette Montague and James M. 
Ward, week of 13th, in "The Winning Hand." On i8th> 
the Holman Opera Company was heard for one week, and a 
stock company then held the boards. Among the members 
of the company were John H. Jack, Lillie Lonsdale, Annie 
Firmin (Mrs. Jack), Harry Amler, Spencer Pritchard, Allan 
Halford, Denman Thompson, Joseph Brandin, and George H. 
Barton, stage manager. The plays were "Under the Gas- 
light/' "Guy Mannering/' " Ticket-of-Leave Man," "The 
Long Strike/' " Leah, the Forsaken," " Lancashire Lass/ 1 
"The Octoroon " and "Uncle Tom's Cabin;' The Holman 
season closed 8th March. Hairrv Lindley's combination be- 
gan a season, 24th March, with "The Lady of Lyons/' and 
other standard plays, closing 5th April. In this company the 
principals were K H. Brink, Florence Webster (Mrs. Lind- 
ley), and Amy Stone. The regular season was then opened 
under the lesseeship of Mrs. J. W. Buckland, represented by 
Ben De Bar as manager, and Alexander Fitzgerald as stag? 
manager. The initial bill was Joseph Murphy in Fred Mae- 
der's "Help." He closed 16th April, and was followed by 
Harry Lindley, Dominick Murray, Joseph Proctor in "Nick 
of the Woods/' 9th June, "Ambition " and "Richelieu." John 
Thompson, John Collins, the Cbleman Sisters and Alex. Fitz- 
gerald were also seen in "The Corsican Brothers," Oliver D. 
Byron in "Across the Continent/' Baker and Farron in "Chris 

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and Lena" (first appearance), and on 21st July the re-appear- 
ance of the favorite, John W. Albaugh, in "Watch and 
Wait/' assuming the role of Bert Bristow; "Hamkt," "Poverty 
Flats'* and "Macbeth." Ben De Bar was seen in "The Lan- 
cashire Lass," 28th, following in other plays. Winette Mont- 
ague played the first act of "Hamlet/' and "The Peep o' Day/' 
8th Aug., and was followed by Marion Mordaunt in "Hearts 
are Trumps " and "Family Jars." Ada Gray was also a de- 
butante this season, in "The New Magdalen," a dramatization 
of Wilkie Collins* tale. Then came the Chapman Sisters and 
Lillie Eldridge in "Alma," "Mignon/' etc. Th« tragedian, 
E. T. Stetson, came week 22nd September, in "Struck Blind," 
"Neck and Neck," etc. The season closed, 17th October, 
with "The Skeleton Hand" and "Black-Eyed Susan," but was 
subsequently extended by Harry Lindley's combination und'er 
Mrs. Buckland's and C. J. Miner & Co.'s management. 

The passing of 

WDTNETTE MONTAGUE, at the Royal, during the season of 1873, 
deserves some notice, her career having been a most romantic one, 
and herself a Canadian, having been born in Cornwallis, N.S., Febru- 
ary 1, 1851. Her real name was Bigelow. Her beauty and stage fame 
captivated Arnold W. Taylor, a Boston merchant, who married 
her when she was sixteen years of age. She subsequently fell in love 
with Walter Montgomery, a clever tragedian, whom she followed 
to England, and they were married in September, 1871. The honey- 
moon had not waned when each discovered that the other had not 
been free to wed — a stormy interview — a pistol shot, and the tragedian 
breathed no more. He was of a temperament that made suicide 
possible. The Montague attended the funeral wearing her bridal 
wreath, which she scattered in his grave. Subsequently, playing an 
act of "Hamlet" during her engagement here, it became known that 
she did so dressed in the dead actor's clothes. She then married 
the good-looking Irish comedian, James M. Ward, with whom she 
starred for a time. Afterwards there was some scandal about a 
Jersey City official, who fell a victim to the lures of the merry Mon- 
tague ; but the end came, and she died in Brooklyn, N.Y., 3rd June, 
1877, her beauty a wreck and her means exhausted. She was buried 
by the charity of the profession. 

JAMES M. WARD died at Brighton, England, 10th March, 1892. 

E. T. STETSON was born is Mamaronic, 8th October, 1836, and 
first appeared in public in 1855. He was successful as a leading man, 
but gave up tragedy for such sensational dramas as "Neck and Neck," 
"The Olive Branch" and "Struck Blind." His last starring engage- 

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ment here was at the Lyceum Theatre, Beaver Hall Hill, week of 
the 17th January, 1887. He was in 1897-98 a member of the com- 
pany playing "Shall We Forgive Her ?" 

JOSEPH MURPHY, in the delineation of the rollicking heroes 
of Irish comedy, has never been surpassed. He began his professional 
career as a member of a minstrel troope, then took to Irish character 
parts, meeting with so much success that he began to star. His 
successes are "The Kerry Gow," "Sham Rhue" and "The Donah." 
His popularity has teen the means of his accumulating a large fortune, 
but he is still before the public. Mr. Murphy was born in Brooklyn 
in 1839. 

ABA GRAY was born in Boston, and first appeared on the stage 
at the age of fifteen. She soon became leading lady, and in 1863-4 was 
in the support of Edwin Adams, being the original Annie Leigh to his 
Enoch Arden. She supported nearly all the heavy stars of the time. 
She subsequently married Charles S. Watkins, but after two years of 
retirement returned to the stage, making a feature of "East Lynne" 
with a certain degree of success financially. Miss Gray, who was the 
wife of Charles F. Tingay, who has been an actor and a writer by 
turns, had been in the Home for Incurables at Fordham for seven 
years Ada Gray had asserted most emphatically that William 
Jennings Bryan certainly played Sir Francis Levison in "East Lynne" 
with her company in 1884, under the name of William Jennings. 
Miss Gray did not remember whether he was a good actor or 
a bad one. She died 27th August, 1902. 

Mrs. J. W. Buckland was again lessee of the Theatre Royal 


and Harry Lindley manager. The stock company was formed, 
which included, among others, E. H. Brink, Henry Gray, W. 
A. Greyston, Florence Webster, Carrie E. Martin, Lottie 
Ward and Zoe Gayton. The season opened early in January, 
and the first notable performance was on 26th January, when 
Zoe Gavton was tendered a benefit. Wybert Reeve appeared 
2nd Februairy, in "The Woman in White." The next import- 
ant production was, "The Fireman," 5th March, for Harry 
Lindley's benefit, on which occasion William McRobie, Alfred 
Perry and fifty firemen appeared on the stage. William 
H. Otis made his appearance, 10th March, in Lord Dundreary. 
One of the features of the season was the appearance of Thos. 
C King, the English tragedian, 18th March, in "Othello, ^ 
following with "Hamlet," 19th; "Richelieu," 20th; "Ingomar 
21st • "Corsican Brothers/' "William Tell,'' "The Hunchback 

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of Notre Dame/' "Virginius," and "Rob Roy." This en- 
gagement was followed by two more of ten days' duration 
from the 6th of April, and a return engagement, 16th Septem- 
ber to the 26th. He had been imported to New York with 
that gruesome drama of 'The Hunchback of Notre Dame," 
which had proved to be a dire failure. His success in Mont- 
real was great, and both Lindley and Chris. Atcheson, the 
veteran door-keeper, record that he always had full houses, his 
receipts never being less than $400 per night. The preliminary 
season was followed by the opening of the regular summer 
season on 4th May, Mrs. Buckland still being lessee. Dom- 
inick Murray in "The Gambler's Crime" was the opening bill. 
Kate Fisher came 1st June in "Mazeppa," and was followed 
week of 8th by Mr. and Mrs. Charles Walcot in "Pygmalion 
and Galatea," " Jane Eyre" etc. The well known actress Ada 
Gray then came in "Article 47" and "Led Astray." Joseph 
Murphy followed 28th. An interesting event of the season was 
the first appearance of Aimee, 20th October, in "La Fille de 
Madame Angot," for one week. The season was a remarkable 
one in representing a number of new and important stars, and 
closed as brilliantly as it opened. Neil Warner, who subse- 
quently became so closely allied to Montreal theatricals, making 
his first bow to a Montreal audience 7th December, in the 
character of Sir Giles Overreach, in Massenger's "A New Way 
to Pay Old Debts." During his engagement he also appeared 
in "Hamlet," "Othello," "Richelieu" and "Macbeth," and his 
success was almost parallel to that of Thos. C. King. The 
season closed 19th December with "The Ticket of Leave 

THOMAS O. KING was the last of the old-time English trage- 
dians, if we except James R. Anderson. He was born at Cheltenham, 
Eng., in 1823, and made his first professional appearance at the The- 
atre Royal, Birmingham. He afterwards joined the "York Theatrical 
Circuit," and played numerous roles in the Shakesperean and legiti- 
mate drama at York, Leeds and Hull. He first came prominently 
before the public at the Edinburgh Theatre, appearing principally in 
Shakespearean characters. It was there that his abilities attracted 
the attention of Charles Kean, who induced him to accept a three years' 
management at the Princess Theatre, London, where he made his 
debut 22nd July, 1857, as Bassanio to Kean's Shylock. He became ex- 
tremely popular, and Kean's jealousy was at last revealed in the few 
and minor parts which he gave the young actor. King complained 
that it was hardly fair to keep him in the background after a successful 
debut, and Kean, thinking to crush the young actor by giving him 
a part which he believed was beyond his power, took him for lag* 

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to his Othello. The result was that the old star was eclipsed by the 
new one. The London papers gave King the highest praise, while 
they treated Kean rather coldly. Then the latter resolved to keep 
King in the shade, and for nearly a year the young actor was heard 
no more at the Princess Theatre. At the end of two years King, 
therefore, terminated his engagement at the Princess. He then went 
upon a starring tour in the principal theatres through the provinces. 
At Dublin he became a great favorite and the town went wild over 
his performances in "Hamlet," "Othello," ' Macbeth," "Merchant of 
Venice," "Richelieu," etc., which attracted large and appreciative 
audiences. The students nicknamed him "King Tom the Grand," and 
the gallery gods hailed him as the King they called their own. In 
1868 King accepted an engagement from F. B. Chatterton, and in 
March in the year following again made his appearance on the 
Metropolitan stage at Drury Lane Theatre as Richelieu. During 
this engagement he also appeared as Hamlet, and subsequently alter- 
nated Othello and logo with Charles Dillon. Later he appeared as 
Macbeth. During the season of 1870, at the same theatre % he played 
with much success the following parts, among others : IVilliam Tell 
and Julian St. Pierre in "The Wife," both pieces of James S. Knowles; 
and Varney on the occasion of the first performance on 24th Sept., 
1870, of "Amy Robsart." He made his New York appearance in the 
character of Quasimardo in Hugo's "Hunchback of Notre Dame," in 
1874. He was supported by a wretched company. The gruesome role 
which he assumed failed to please, and he was awaiting his salary and 
developments when he was engaged by Manager Lindley for a 
Montreal engagement, making his debut in this city 18th March, 1874, 
in Othello. He appeared in Othello six times, Hamlet six times, Richelieu 
eight times, Richard III. — thrice, and other plays in the same propor- 
tion. His success was great and on one occasion received the un- 
usual compliment of a call in the middle of a scene in "Othello." 
His receipts during the engagement were never less than four hundred 
dollars nightly, and this success followed him for a year in every 
city in Canada. He had no idea of the value of money. At the Queens 
Hotel at Toronto his room did not suit his ideas, so the clerk re- 
marked in tones of sarcasm, "Perhaps you would like the Dufferin 
suite ?" "Exactly what I want," the tragedian replied, and he got 
it. His temper was equable, and in stage business he would cover 
up any errors, excepting once when the Lady Macbeth, for whom he 
was looking on one side, entered the other. He glared for a moment, 
and then in deepest tones exclaimed. "Never more enter the rear 
portal 1" Harry Lindley confesses that he quite disconcerted the 
actor at Kingston in a production of "Hamlet" It was warm and so 
was Polonius (Lindley) and when the cue came for the old courtier 
to go on, be left his beard in the dressing-room. It was the scene in 
the second act, after the player's long speech, when Polonius says, 
"This is too long." Hamlet : "It shall to the barber's with your 

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beard," but as his eye caught sight of a smooth-faced Polonius, the 
actor lost his princely dignity and gasped, "Great Ceasar ! he hasn't 
a beard on." His great liberality, his love for society and trust in 
his fellow men swallowed his immense earnings, and when he rer 
turned to England he did not carry much away with him. From this 
ttee his professional career practically closed, King losing his 
health and remaining in comparative obscurity in his native country* 
until his death, which occurred at King's Heath, Birmingham, 21 st 
Oct, 1893- Mr. King possessed a tall and commanding figure, grace - 
ful and easy movements, an intelligent face, and a full-toned sonor- 
ous voice. 

WILUAM H. OTIS had a collection of thirty pairs of trousers, 
each of which were known by such cognomens as "In the Gloaming," 
"Shimmer in the Morning," "Moonlight on the Lake," etc. It was 
said that he invariably said a short prayer at the wings on making 
his first appearance. 

ZOE GAYTON, whose real name is Zoreka Gazonia Laperero, is 
a Spaniard, and was born at Madrid in 1854. She first went on the 
stage in 1871. She has become more celebrated as a pedestrian than 
as an actress, having won world-wide celebrity by accomplishing the 
monotonous feat of walking all the way from San Francisco to New 
York for a wager at $12,000 covering 3,395 miles from 27th August, 
1800, to 27th March, 1891. 

Marie Aimee, must have been born for opera bouffe. She 
bad the eye for it, the mouth for it, and the dash and abandon. 
One would have thought that she had never memorized 
her part, but that it was an improvisation, she was so 
natural. Her acting was in perfect sympathy with the spirit 
of the work she illustrated. She was undoubtedly the most 
brilliant soubrette ever seen in this country. 

MARIE ATMEI S (right name Frochon) was born in Algeria in 
1852. She began to study music at an early age, and made her debut 
in 1866, at Rio Janeiro, S.A. She quickly gained a popularity, and 
was scarcely sixteen when the impressario Lindall, struck with the 
beauty of her voice and her astonishing execution, engaged her to 
create the role Fliorella in "Les Brigands." She performed in various 
countries and possessed souvenirs from the chief courts of Europe. 
During the Franco-Prussiau war she visited America, with a 
French opera bouffe troupe. She opened December 21, 1870, at the 
Grand Opera House, New York, and at once secured one of her 
greatest successes. After a tour of this country she returned to 
France. She made six more tours to America. Having accumulated 
quite a fortune, she finally determined to enter the managerial field, 
and leased the opera house in the Arcade, Brussels, as well as one 


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at Rouen, Fr. She expended a large sum of money in renovating 
those houses, and in Brussels produced several operas for the first 
time on the stage. "The Royal Middy" was the most successful, 
but it took only two seasons for Aimee to lose over $85,000. She 
died in Paris, France, 2nd October, 1887. The funeral of Mile. 
Aimee showed how very few friends an actress can count upon. 
In spite of the fact that her will gave a very large amount to an 
orphan asylum for the children of artists, and her well-known gener- 
osity during her active dramatic life, very few people found leisure 
to go to the small church, and yet during the French war Aimee 
sent from America 5,000 francs to these very comrades. 

HENRY NEIL WARNER was born at Bury St. Edmonds. Eng- 
land, 5th April, 1831. He came of a family of clergymen, and his 
right name is William Burton Lockwood. His mother died during 
his earliest infancy and he was brought up by his aunt, the mother of 
"Ouida." He went on the stage against the wishes of his relatives, 
first at Brighton, Sussex, under Henry Farren's management in 1852. 
His tastes and ambition were directed to the higher walks of the 
drama, and being well qualified to undertake heavy work, in possess- 
ing a magnificent physique, a powerful voice, together with intelli- 
gence of a high order, he made rapid strides in his profession. In 1854 
he went to Australia, where his success was only second to that of G. 
V. Brooke. Returning to England h'e made his metropolitan debut in 
May, 1865, at Sadlers Wells Theatre in his greatest role — Othello. In 
an official list of famous London debuts the date of his first appearance 
is given as 6th March, 1865, as Hamlet at the Marylebone Theatre, 
but Mr. Warner does not corroborate this statement. He came 
to America in i860, making his debut at the old New York Theatre, 
Broadway, 20th February, as Othello to the Togo of McKean Buchanan. 
When Palmer & Jarrett produced their great revival of "Richard III.," 
at Niblo's Garden. New York, 10th April, 1871, Warner was engaged 
to appear as Richmond to the Gloster of James Bennett, the English 
tragedian, who had been specially imported at a large salary. The 
support included Milnes Levick, Edmund K. Collier. Mme. Ponisi 
and Louise Hawthorne. The tragedy was mounted in a manner al- 
together unprecedented in New York, but at the end of the first week 
Bennett was found to be so incompetent that Warner was substituted 
in his stead, and the piece 'enjoyed a three weeks' run. After a short 
starring tour through the country, Warner appeared at the Bowerv 
Theatre, Noviember 4, in Giles Overreach, following in "Macbeth." 
"The Corsican Brothers," "The Honeymoon," "The Lady of Lyons," 
"The Iron Chest," and "Richard III." Mr. Warner married Belle 
Chippendale, 16th March, 1874. Miss Chippendale is the daughter of 
the veteran Frederick Chippendale, and the grand-daughter of the 
famous comedian, the late Wm. H. Chippendale for many years a 
member of Henry Irving' s company. Mr. Warner made his Mont- 

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real debut 7th December, 1874, as Sir Giles at the Theatre Royal, and 
for the following fifteen years was a citizen of this city. He and 
his wife became great favorites here, and in later years opened a 
school of elocution, as well as directing innumerable amateur per- 
formances. In 1899 he went West at the head of a company ki Shakes- 
pearean productions; but age had impaired his once robust con- 
stitution, and he returned after a year's absence. He then held the pro- 
fessorship of elocution at the High School for one year. His last 
professional appearance on the stage here was at the Academy of 
Music, 3rd October, 1891, when he played Macbeth to the Lady 
Macbeth of Modjeska, and his farewell appearance in Montreal 
was 19th September, 1892, when he appeared at the Windsor Hall 
in "Othello," supported by amateurs, including F. O. Hopkins. W. 
A. Tremayne, Fred A. Thomson and Mrs. Warner. Since that time 
he has been touring through the United States with various com- 
binations. Two daughters, Affie and "Jack" (Lenore Lockwood), 
have also chosen stage life, and Mrs. Warner is still an active 
member of the profession. 

Mr. Warner's great roles were Sir Giles, Macbeth, Othello, and 
Shylock, and had he been at all ambitious could have been a great 

"15th June 1901. Neil Warner has passed into his rest!" Such 
is the message that comes to me from the new to the old world. 
Although in the hurry and turmoil of theatrical affairs, the name of 
Neil Warner is well nigh forgotten by the public, it was not much 
more than a score of years ago that he had the distinction of being 
one of tne foremost Shakespearean tragedians of the English speak- 
ing stage. He was a maa of sound education, of thorough training 
in his art, and in his prime he was unusually handsome and of noble 
bearing. Six months ago I last held in mine the hand*? of Neil War- 
ner, and for the last time looked upon his venerable and noble 
countenance, on the eve of my drifting further from the moorings 
of my youth. He suffered greatly, yet patiently, and in the full 
faculty of his old-time courtliness of thought as of manner. In his 
defiance of the inexorable malady, he leaned upon the prop of a 
noble woman's devotion, that never wearied — never faltered — as he 
welcomed the gathering of the shadows which lie beyond the 
patriarchal years. He was waiting for the end. To him the paling 
twilight came as sweet incense to break into the better life beyond. 


Mrs. Buckland, as lessee, and Harry Lindley, as man- 
ager, opened on 1st Jan., with Kate Mayhew, of the Union 
Square Theatre, New York, in "Valerie." The celebrated 
Hungarian artist, lima di Murska, appeared nth and 12th. 
and on 19th G. M. Ciprico produced Dumas' play of 

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"Edmund Kean," followed by the engagement of Thos. 
C. King in eleven representations from 25th January 
to 5th February. Florence Webster was seen in "An 
Unequal Match," 6th; "The Dead Heart" was given 
8th; and the Holman Opera Company then held the 
boards in comic opera from 9th to 20th. The Kiralfy 
Sisters in "The Deluge, ,, week of 22nd, followed by Julia Sea- 
mon. A notable debut occurred 8th March, Edwin F. Thorne 
appearing in "Don Caesar de Bazan," "Jibbenainosay," "Da- 
mon and Pythias," etc. Frank Mordaunt came, week of 15th, 
in "The Trail of the Serpent," Robert Butler's "Humpty- 
Dun^y/' week of 22nd, and O. D. Byron, week of 28th, in 
"The Orange Girl, ,, "Ben McCullough, ,, "Donald Mackay," 
etc. Tom Hurst, a well-known local artist, was tendered a 
benefit performance, 5th April, in "Masks and Faces," fol- 
lowed by the first appearance of the Worrell Sisters and 
Sam B. Villa in burlesque, etc., preceding the first appear- 
ance here of the great prima donna, Clara Louise Kellogg, 
whose subsequent appearances here became frequent. On 
26th April, a trio of clever artists, Sara Jewett, Louis 
James and D. H. Harkins, headed Daly's Company in 
"A Big Bonanza/' which proved so successful during 
the week that the company extended its engagement one 
night more in ''Monsieur Alphonse." This was the first ap- 
pearance here of Miss Jewett and Mr. James. N. C. Forres- 
ter, supported by his own company, in productions of "The 
Two Orphans," and "Led Astray," played a short engagement 
following the Daly Company, and was in turn followed by 
James S. Maffitt's "Flick and Flock" Pantomime Company, 
Maffit being tendered a benefit 14th May. The celebrated 
English comedian, John L. Toole, made his first appearance 
here, 17th May week, supported by Miss Johnstone and W. 
Herbert, in "Off the Line," "The Weaver," and "Ici on Parle 
Francais." Emily Soldene's English Opera Company ap- 
peared week of 24th, and, on 31st May, Jarrett & Palmer's 
famous "Black Crook" was first seen in Montreal. "The 
Black Crook" was first produced at Niblo's Gardens, New 
York, on Sept. 12, 1866. The text was written by Chas. M. 
Barras. The music was composed by Thomas Baker. The 
principal dancers were Marie Bonfanti, Rita Sangalli, Betty 
Rigl and Rose Delval. M The Black Crook" on its original 
production ran till January 4, 1868. It has frequently been 

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revived since then. John L. Toole played a return engage- 
ment, 14th June, giving three farewell performances. 

The closest to Toole's in point of interest during the season 
was the engagement of the romantic tragedian, Charles A. 
Fechter, 21st June. He was supported by Frank C. Bangs, 
H. A. Langdon, Vining Bowers and Lizzie Prince (Mirs. 
Fechter?), all of whom were specially engaged to support the 
star. He opened in "Ruy Bias/' following in "The Lady of 
Lyons," 22nd; "No Thoroughfare," 23rd; "Hamlet," 28th; 
"Don Caesar," 29th; "Hamlet," 30th and 31st. On 5th July 
he appeared at tfre Mechanics' Hall for a benefit and farewell 
appearance, owing to a misunderstanding with Manager Lind- 
ley of the Theatre Royal, the tragedian having been found 
at fault. Mr. Fechter did not leave a favorable impres- 
sion here with the management, and his engagement 
was not remunerative. His experience at Toronto was much 
the same, the engagement terminating in a deplorable fiasco. 
On one occasion "Hamlet" was billed, and a small audience 
assembled, but the support refused to appear. The curtain 
rose before the Castle of Elsinore, and Bernardo entered with 
the usual interrogation, "Who's there ?'' expecting to hear 
the cue followed up by the actor who played Francisco, but the 
latter was one of the dissatisfied, and could not be seen. The 
somewhat discomfited Bernardo repeated his line, and still no 
reply. Losing patience, the actor roared out for the third 
time, "Who's there ?" when a voice was beard from the gal- 
lery, "Darned if I know; go on with the play." The curtain 
was rung down. 

Daly's Company appeared 12th July for week, when the 
season closed until nth August, when the theatre was re- 
opened by Neil Warner in "Money," supported by E. Randor, 
G. L. Greenwood, B. Ryan, H. Mitchell, W. Todd. Harry 
Lindley, Belle Chippendale (Mrs. Warner), Florence Web- 
ster and Mrs. W. Ayling. During his engagement, "Tinr* 
and the Hour,'' "Loan of a Lover " and "Rob Roy " were pro- 
duced. J. K. Keane was seen in "Rip Van Winkle," wee u 
of 16th. After another closing, Howard Clifton, the English 
and Scotch character singer, held the board three nigh f ^ 
from 25th October, and Blind Tom ^ade his appearance 15th, 
1 6th and 17th November. True opening of the Academy of 
Music, on 15th November of this year, naturally transferred 

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most cf the public attention to the new house, and the annals 
of the Royal have now arrived at a much less interesting 
period in its history. With the close of the 1875 season, Mrs. 
Auckland's connection with the old theatre also closed. 

We find George Holman tessee and manager of the house 
during the first part of 


which began, 24th January, with the Holman Opera Company. 
On 25th May, E. A. Sothern made his Montreal debut, appear- 
ing in his great character of Lord Dundreary. He played the 
character over 1,600 times altogether. 

GEORGE M. CIPRICO who made his debut 5th Nov., 1867, as 
Hamlet, at the Metropolitan Theatre, San Francisco, had but a short 
career as a star. He died 14th April, 1895. 

EDWIN FORREST THORNE, son of Chas. R. Thome, sen., and 
Maria Ann Mestayer, was born at New York in 1845 ; died 4th May, 
1897. His first appearance was made as a child in San Francisco 
with his parents as Eva in "Uncle Tom's Cabin." His formal debut 
was made in the Winter Garden, in New York City, on November 
do, i860, when he played with Edwin Booth* He used the name of 
Mr. Edwin during this period of his stage career. In 1863 he returned 
to San Francisco, where he played for one season in the Metropolitan 
Theatre. As a member of his father's company, he then went on a 
tour to China, Japan and India. The season of 1869 he was in Quincy, 
111. The following year he played in the company at the Royal Opera 
House, Toronto. He was a member of stock companies in Washing- 
ton, New Orleans, Philadelphia and Chicago at various times, and 
he travelled with E. L. Davenport. Early in the eighties he starred 
for several seasons in the English melodrama, "The Black Flag," 
by Henry Pettit. This play netted him a small fortune, which he 
subsequently lost in private speculations. Of late years he had been 
1 olding a clerkship in the postal service in New York City. His 
brother, Charles R. Thorne, jun., who died 10th February, 1883, 
aged 34, was considered to be the best leading man of his time. 

FRANK MORDAUNT was born at Burlington, Vt., in 1841. He 
j ined the Brougham Association in New York in 1853, and six years 
later made his regular professional appearance in that city. He has 
s nee been prominently before the public. 

Kngland parents at Sumpterville, S. C, in 1842, but her parents went 
to New York in her early years. It is said that "she could sing before 

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she could talk," so that her natural advantages were large and varied. 
She made her debut at New York in 1861, as Gilda in "Rigoletto." 
She appeared at London in 1867. She was gifted with a musical 
apprehension which even in infancy was looked upon as something 
marvellous. Her career has been marked by long series of distinct 
successes, but the tones of her once wonderful voice do not appear 
to have had the staying powers so remarkable in a few other song- 
birds, and she now appears but seldom in public. In November, 
1887, she was married to Carl Strakosch, her manager. 

LOUIS JAMES, one of the most versatile actors on the contem- 
porary stage, was born at Fremont, 111., in 1842. He began playing 
at Louiseville, Ky., in 1863, as a member of Macauley's Stock Com- 
pany. He was for six years at Mrs- John Drew's Arch Street The- 
atre, Philadelphia, and in 1872 joined Daly's company, with which 
organization he remained until the end of the early season of 1875, 
after which he became leading man at McViker's Theatre, Chicago, 
and subsequently at Maguire's at San Francisco. From 1881 to 1886 
he was leading man to Lawrence Barrett, after which he began an 
independent starring career in the legitimate, accompanied by Marie 
Wainwright whom he had wedded in 1879, and who had also been 
leading lady in their previous five years' engagement in support of 
Mr. Barrett. The talented couple visited Montreal, opening 18th 
November, 1886, at the Academy of Music in "Virginius," and ap- 
peared in three other representations. In 1889 Mr. and Mrs. James 
starred separately, and subsequently also separated as man and wife. 
Mr. James was married to Alphie Hendricks in 1892, and was for a 
few seasons joint star with Frederick Barham Warde, touring chiefly 
in the South and West, where he is a great favorite. Mr. James 
opened the new Winnipeg Theatre, 6th-9th September, i897» in 
"Spartacus," and other classical plays. Mr. James ranks well for- 
ward in the first grade of the tragic walks, and his Virginias, 
Spartacus and Othello are performances difficult to improve on. He 
is also known to be as ardent a practical joker as he is a capable 
tragedian. Mr. James, during 1899, toured with Chas. B. Hanford 
and Katherine Kidder as associates, and recently as first star with 
Madame Modjeska. 

JOHN LAWRENCE TOOLE was born at St Mary Axe, Lon- 
don, Eng., March 12, 1832, and was the second son of the late John 
Toole who held the post of Civic Toastmaster in London for twenty- 
five years. He was educated at the City of London School, and at 
the expiration of his term there took a position in a wine merchant's 
office. His inclinations led him to abandon commercial life very 
early, for before he was of age he entered the dramatic profession. 
His first engagement was with Charles Dillon's company at the 
Queen's Theatne, Dublin, afterwards travelling to Belfast, Edinburgh, 
Glasgow and elsewhere. A notable event in Mr. Toole's career was 

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his American tour in 1874-75. On his return from the United States, 
Mr. Toole reappeared at the London Gaiety, November 8, 1875. He 
continued playing there and elsewhere in* London and the Provinces 
until November, 1879, when he took the management of what was 
then known as the Folly Theatre, but after his reconstruction was 
called Toole's Theatre. His rich and genial humor, never marred with 
any approach of vulgarity, made him, beyond question, the first 
English comedian of the day. His serious impersonations have 
ever been marked with pathetic intensity and tragic power, his ad- 
mirers averring that, had he so wished, he could have attained con- 
spicuous prominence as a tragedian. In private life his high qualities 
of heart and head, and his genial and buoyant disposition raised up 
for him a host of personal friends, among them many persons of high 
rank and position and names that are great in art and literature. 

AARA JEWETT W as the daughter of James A. Jewett, and was 
born in Buffalo. Few actresses were more popular, few names are 
better remembered by the elder generations of theatre-goers than that 
of Sara Jewett. Her beauty alone would have won her way on the 
stage, but aside from her mere physical grace, she had for her audien- 
ces the added charm of a refined and accomplished woman. Miss 
Jewett was a niece of Dr. Austin Flint, sen., and her family was 
highly connected in Boston. Her wish to become an actress was 
strongly opposed by her friends, and something of sensation was 
caused by her first appearance on the professional stage in autumn of 
1872, in Bronson Howard's "Diamonds/* with Mr. Augustin Daly s 
company, then at the old Fifth Avenue Theatre, in 24th Street. Her 
advancement was rapid, and when Miss Clara Morris suddenly 
resigned the position of leading lady, Miss Jewett was selected to 
replace her. Illness caused by over-work compelled her temporary 
retirement from the stage, and when she recovered she was engaged 
by Mr. A. M. Palmer for the Union Square company. She began 
her career there in 1879. During her stay at the Union Square, she 
created many roles. Her last appearance there was 1885. "All star" 
casts and triple star combinations were not as common fifteen 
years ago as they are now, and the announcement of the alliance 
formed by Sara Jewett and Geo. Edgar to make Shakespearean 
productions was a nine days' wonder in 1886, as many of the 
theatre-goers of the present day will remember. Curious 
that the deaths of these two once famous players should occur 
so close together. George Edgar died two days before. When 
she formed that alliance with Mr. Edgar, Miss Jewett was one of 
the most popular actresses on the stage. She had just closed a long 
and successful engagement as leading lady of the old Union Square 
Company, and was accounted a wealthy woman, with perhaps the 
best part of her career before her. But the alliance proved a failure 
and the actress lost nearly all her fortune in the venture. Other 

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losses came and illness, too, and the brilliant promises for her future 
were never fulfilled. She passed away at Cambridge, Mass., 27th 
Feb., 1899, aged 54- 

THE WORRELL SISTERS, Sophia, Irene, J'ennie and Rosita, 
were daughters of William Worrell, one of the best known circus men 
in this country, who died 7th August, 1897. Their mother was the 
daughter of Emanuel and Sophia Judah, the former having been 
seen on the Montreal stage in 1824-25. The girls first appeared as 
dancers in California, and afterwards visited Australia, in which 
county their father was the first exhibitor of a circus. Returning to 
America, they came east in 1866. They made their first appearance 
before the footlights in America at a time when stars of the vaudeville 
were few. From the first night they became famous. Gay New 
York raved over their beauty. Night after night they entertained 
and captivated. The elder generation to-day remembers the golden 
tresses, the big sparkling blue eyes, the lithe and stately forms of 
the sisters. And to this generation Jennie was, by a few points, 
the most beautiful. By and by the three sisters were married- 
Sophie, the eldest, born (1848), became the wife of George S. Knight, 
the comedian. She helped him to achieve his brilliant successes, and 
yet in subsequent years he went to pieces. Jennie was married to 
a wealthy New York gambler and left the stage. The couple separat- 
ed. Jennie returned to the stage, and her life, marred by her unhappy 
marriage, became one of pitiable dissipations. Irene was the 
wife of a Brooklyn merchant, but their love was short-lived, and they 
procured a divorce. In the flush of success the sisters once owned 
a theatre, where were presented brilliant spectacular pieces, which 
gave opportunities to the girls to display their own physical charms. 
Then, as their suns went down, the sisters drifted apart. A few years 
ago Jennie and Irene opened a vaudeville house at Coney Island. 
This they lost, and not long afterwards Irene died under sad cir- 
cumstances; Jennie lingered at Coney Islamd. Occasionaly she would 
have an engagement in the music halls. The blonde tresses were 
tangled, the blue eyes had lost their lustre, the flush and beauty of 
youth were gone. In the midst of the salt marshes at Coney Island 
Jennie Worrell fought fire and death, and lost. She sank upon that 
field of fire, and her body, charred by the fierce flames, her hair gone, 
her face burned almost beyond recognition, was picked up and re- 
moved to the Hospital, where she died, nth Aug., 1809. 

FRANK O. BANGS was born in Virginia in October, 1837, and 
first studied law, but in Nov., 1852, he went on the stage, making 
his first appearance at the old National Theatre, Washington, D.C. He 
made successful studies, and in time became a capable tragedian. 
While playing in support of Edwin Booth, Mr. Bangs' Antony was 
conceded to be a masterpiece of dramatic effort. He was married 

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tc Le Grove Singer, 4th June, 1883. from whom he was shortly after- 
wards divorced. In 1897 Mr. Bangs appeared as James Ralston in 
"Jim the Penman" and is at present playing in "The Christian." 

EDWARD ASKEW SOTHERN S right name was Douglas 
Stewart. He was born in Liverpool in 1830, and was intended by his 
parents for the church, but about 1851 went on the stage and made 
his first appearance at the Boston National Theatre as Dr. Pangloss 
in "The Heir at Law." After a very up-hill struggle he succeeded 
in gaining a footing at Laura Keene's Theatre, New York, and in 
1858 appeared in the character of Lord Dundreary in Tom Taylor's 
"Our American Cousin." This was originally one of the subordinate 
parts in the piece, but it was gradually elaborated by Mr. Sothern 
until he became one of the most celebrated creations of the century, 
full of fine and undemonstrative humor. He appeared in it for more 
than eleven hundred times in the United States, and then repeated the 
performance for four hundred and ninety-six nights at the Haymarket 
In 1864 he created the second great part with which his name is as- 
sociated, David Garrick, in T. W. Robertson's adaptation from the 
French play, "Gullivar." He reappeared in England in 1874, but 
achieved no permanent success in any of the plays with which he 
was connected. In 1879 he returned to America. He declared that 
he was indebted for whatever position he attained in his profession 
to the Americans.- On his last visit to America he appeared as Fitzal- 
tamont in "The Crushed Tragedian," and made a fair success. He 
returned to England in 1881 in broken health, and died in the same 
year. Three sons adopted the dramatic profession, Edward Lytton 
Sothern, Sam and Edward H. Sothern. The first mentioned died nth 
March, 1887. E. H. Sothern, has met with some success as a star in 
romantic roles. Sam Sothern is a member of his company. 

JAMES K. KEANE, born in Philadelphia in 1852, died 31st May, 
1899. His first stage appearance was at the Walnut Street Theatre, 
with Lotta. He married Alice Roberts in 1883. For a number of 
years Mr. Keane was prominently featured in "Hazel Kirke," "Around 
the World in Eighty Days" and many other well-known plays 
acting principally with stock. companies. 

CHARLES ALBERT FECHTER, was born in London, 23rd 
October, 1824. He was of French parentage, although his father 
was descended from German stock. In 1836 the family returned to 
Paris, and Fechter, who was being brought up as a sculptor, soon 
developed such high talents for the stage that he secured engagements 
at some of the leading theatres, especially the vaudeville. In 1846 
he visited Berlin, and two years later made his first appearance at Lon- 
don, together with a French company engaged at the St James The- 
atre. After rising to the highest position in his profession in Paris, 

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he visited England again in i860, acting at the Princess, where he 
astonished the critics by his impersonation of Hamlet. During the 
years that followed he frequently appeared at London, and in 1870 
undertook a very successful professional tour of the United States, 
first appearing on the American stage at Niblo's Garden, 10th Janu- 
ary, 1870, in "Ruy Bias," supported by Carlotta Leclercq. He there 
failed to satisfy his audiences. He assumed the management of the 
Globe Theatre, Boston, Sept 12, 1870, and retired from that man- 
agement Jan. 14, 1871. Returning to Europe, on March 2, 1872, he 
appeared at the Adelphi Theatre, London, as Ruy Bias. He returned 
to New York in September. During the summer of 1871, Duncan 
and Sherman advanced Mr. Fechter a large sum of money to build 
the Lyceum Theatre, New York. He invested some $50,000 of his 
own money in the enterprise. His reckless expenditure caused a 
breach between Duncan, Sherman & Co., and himself, and they 
took the theatre from him by legal process of law before he opened. 
Consequently, what money he had invested of his own and borrowed 
from Carlotta Leclercq was lost. On April 28, 1873, Fechter resum- 
ed the practice of his profession by opening at the Grand Opera 
House, New York. His last engagement was at the Broadway 
Theatre (now Daly's), commencing Dec. 17, 1877, as Edmond Dantes 
in "Monte Cristo." He closed Jan. 26, 1878, impersonating Ruy 
Bias. His last engagement on any stage was to have commenced 
April 7, at the Howard Athenaeum, Boston, but he was suffering 
from a gastric attack. He appeared before the curtain, stated the 
cause of his illness, and dismissed the audience. He appeared 8th, 
as Legardere in "The Duke's Motto," and continued for the week. 
He was again too ill to act on 14th, but re-appeared 15th, in "Black 
and White" which ran until the close of the engagement, 19th, when 
he made his last appearance on any stage. Mr. Fechter went 
through the round of characters in which the reputation of Frederick 
Lemaitre had been achieved. Fechter had many gifts in common 
with Lemaitre, and no man on the English stage approached nearer 
to his level. In Shakespearean plays, certain passions were strikingly 
represented. In several cities the press wantonly and wickedly abus- 
ed him. At Cincinnati, especially, they pelted him with the dirty 
gravel of the lowest Billingsgate. The result of this was that man- 
agers feared to give him again the terms he required, and he would 
not abate a jot. He refused to accept from Mr. Booth an engage- 
ment at the same terms given to Joseph Jefferson, the best drawing 
and best paying star in the world. He achieved triumphs in Paris, 
Berlin, London and New York in three languages. In the first- 
named city he was one of the foremost jeunes premieres, and created 
the leading male part in the well-known "Dame aux Camelias." In 
England his presence was hailed with great delight, the critics wrote 
rapturously of his finished natural style ; his name was heard at 
every dinner table, and the theatre was nightly crowded by his 

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thronging worshippers. The news that he was about to play 
Hamlet after his success in Ruy Bias created a wonderful degree 
of excitement, rumors sprang up in great clouds and travelled all 
over the land, it was to be such a Hamlet as the English stage had 
never seen; and when he did appear, oh ! what learning and research 
did the historic wise bestow in commendation of his appearaiKe in 
a flaxen wig! Such was the rage for novelty that no one saw hoW* 
utterly incongruous suggestions of barbarous times were with char- 
acter and surroundings of that polished gentleman, Ham'et, as Shakes- 
peare created him. Despite his foreign accent, every word was clearly 
and distinctly heard, and the sound he gave each blended to heighten 
the finished effect of an entire speech with a subtlety of combination 
artistic in the highest degree. No actor ever suited the action to the 
word with more complete harmony. In melodrama Mr. Fechter 
was decidedly at home. His Ruy Bias was a piece of acting intensely 
romantic and burlesque. In the "Corsican Brothers" he strongly 
defined the contrasting personal character of the twins with remark- 
able realistic skill, never confusing their individuality. In tragedy 
Mr. Fechter*% triumphs were less notable. His Othello was disfigured 
by the introduction of ingenious little tricks and devices intended to 
startle or surprise, which were altogether destructive of that calm 
simplicity and grandeur of action which is characteristic of our g/eat 
poet's work. It lacked dignity, breadth and intellectual refinement 
There was much in it that was original in conception and effect, 
many of the commonly recognized points received fresh force and 
new meanings from delicate suggestiveness of sounds and gestures ; 
he rendered the inner depths of feelings with great intensity, and gave 
the more tender and pathetic phases of the part with a show of im- 
pulse and emotion which was very touching. But as a whole his tragic 
acting never rose to the poetic grandeur of Shakespeare's wonderful 
creations. In Hamlet he came nearer to the lofty standard of a truly 
great actor, clearing away much of that obscurity with which heavy 
English tradition-holding tragedians had invested the character 
simplifying some of the business in important scenes, and giving more 
powerful coloring to Hamlet's awful reverence for his father's memory, 
the deeply affectionate nature of his grief for him, and the irrepressible 
tenderness and intensity of his love for Ophelia. Loving the country 
ardently, he at last looked upon his artistic career chiefly as a means 
of improving and enjoying his country home at Richland Centre. Pa., 
two hours' ride from Philadelphia. He retired there to read, study, 
smoke and trace his triumphs over again in the scrap-books and 
albums containing relics of his palmy days. Of all these relics those 
pertaining to his long and intimate friendship with the late Charles 
Dickens were most valued. There he passed a great deal of his time, 
and there he died, a very poor man, 4th August, 1879. His remains lie 

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in Mount Vernon Cemetery, Philadelphia, beneath a handsome 
stone, on which is a marble bust of the actor. On the base of 
the monument is the inscription : — 

Genius hath taken its flight to God. 

was also a short one, the Holmans opening up a season of 
comic opera in "Girofle-Girofla," 26th June, under the leader- 
ship and management of George Holman. The house was 
practically closed from the end of the opera season until 17th 
December, when Marie Aimee was advertised to make her 
last appearance before retiring from the stage. George Hol- 
man was again lessee, and Lucien Barnes manager, of the 
theatre during the first part of 


which was a most important one in several respects to that of 
the preceding season. Kate Fisher was the first attraction, 
4th January, in "Mazeppa," for the week, followed by the Hol- 
man Opera Company uaitil 26th. M. A. Dawson assumed 
the lesseeship 28th January, opening with Robert Butler's 
Jack and Jill Pantomime Company. The Georgia Minstrels 
came week of 7th February, followed by Haverley's, 15th. 
The house then passed into the hands of Theresa Newcomb, 
who opened a season of French drama, 26th February, in 
"Marie Jaune." During the two weeks, "Le Doight de Dieu," 
and " La Fille du Paysan," were produced. "The Fatal 
Glass" was given 13th April, and on 22nd "La Dame 
Blanche," an opera, was staged, with Marietta Hassan in the 
cast. Happy Carl Wagner's Minstrels came 27th April. 
Texas Jack held the boards week of 13th May, followed, 20th, 
by Frank Mayo in "Davy Crockett." May Fiske's "Blondes" 
were seen for three nights from 27th May. During the 
month of Jume a French company produced a number of 
standard French plays, after which the house was entirely 
overhauled and renovated. Its lease passed into the hands 
of O'Brien & West, who inaugurated their season, 16th Sep- 
tember, with the Foy Sisters' Specialty Combination. This 
class of attraction was catered to the public all through the 

KATE FISHER first appeared as a danseuse in New York, 6th 
October, 1852. She was born in Boston, Mass., 16th April, 1840. Her 
name has always been associated with such productions as "Mazeppa," 
"Cataract of the Ganges." etc. Her name in private life is Mrs. Gaines 

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FRANK MAYO (MAGUIRE), who died 8th June, 1896, en route 
from Denver to Omaha, was a strong actor of the sensational school, 
He was born in Boston, Mass., 19th April, 1839, and first appeared on 
the stage at the American Theatre, San Francisco, in 1856. He first 
played "Davy Crockett," in 1872, at Rochester, N. Y., after having 
had a Shakespearean flight, which Resulted unsatisfactorily. His 
son, Edwin F. Mayo, also toured the country with the piece. In 
former years Mr. Mayo had enjoyed much prosperity, and was 
possessor of an elegant property at Canton, Pa., which he called 
"Crockett Lodge." The adjoining estates were owned by E. L. 
Davenport and Charles Fechter. Frank Mayo had not then 
entertained the ambitions which swamped him. He had not 
written "Nordeck" — had not formulated the notion that he 
could star in legitimate roles with success. He was then con- 
tent to play honest Davy Crockett and big-hearted Tom Badger. 
He booked at the best and biggest theatres. What a ^royal 
princely, good fellow Frank Mayo was ! The summer sun never 
set upon a happier or more independent household that the Mayos*. 
Then came the fatal aspiration of the artistic nature of Frank 
Mayo. He had played "Davy Crockett" and "The Streets of New 
York" over three thousand times, and was tired of them. He knew 
his dramatic powers, and yearned to re-try the achievements of his 
youth, when he made his reputation on the Pacific Slope. Then he 
wrote "Nordeck" — failed! More outlay! The fortune was rapidly 
dwindling ! Then back to "Davy Crockett" - Finally he dramatized 
"Pudd'n-head Wilson." And a great success it was — until one night 
his tired head laid upon the sill of a window in a sleeping-car — his 
over-taxed discouraged heart, weakened and worn out; with his 
white hair blowing in the night-wind, and his pallid face turned up 
to the stars, the soul of the exhausted actor went forth into the 
prairie night — back to the Great Giver. 

EDWIN r. MAYO, son of Frank Mayo, appeared at the Theatre 
Royal during his first starring tour in "Davy Crockett" in 1887. 
After the death of his father he became manager and principal actor 
of "Pudd'n-head Wilson." He dropped dead at the Chateau Fron- 
tenac, Quebec, 19th Feb., 1900. For him the "strange eventful 
history 1 ' came early to an end. 


opened, 14th January, with Genevieve Ward, supported by 
Milnes Levick in "Jane Shore." Miss Ward began an en- 
gagement at the Academy of Music on the termination of 
her week at the Royal, appearing at the new house in "Henry 
the Eighth/' 20th, and "Jane Shore/' 21st. " Pinafore " was 
produced 24th, and James Green was seen, 28th and 29th, in 

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"Henry the Fifth." Tony Denier and Adams' "Humpty- 
Dumpty ,, opened 1st April for we^ek. The next most import- 
ant attraction was Shook and Collier's production of "A Cele- 
brated Case/' under the management of J. W. Collier. Ed- 
mund Kean Collier and Edward Lafayette Tilton appeared 
in the cast. Cool Burgess, Rice's "Evangeline," and the 
Criterion Comedy Company in "Our Boys," followed. 

On the re-opening of the house, week 8th September, we 
first find the name of John B. Sparrow figuring as lessee and 
manager. The opening was with Haverley's Juvenile "Pina- 
fore" Company. John A. Stevens' "Unknown," week of 15th, 
this being its first production here. Arnold Brothers' Min- 
strels next, followed by E. A. McDowell in "The Duke's 
Motto," 20th, 21st, 22nd. Duprez and Benedict's Minstrels 
were seen 21st and 22nd November, then Gus Williams, and 
on 28th "Uncle Tom's Cabin," with Grace Egerton. Charles 
L. Davis, in "Alvin Joslin," beean an engagement 24th 
December, closing the year of 1879. 

JOHN B. SPARROW was born in Cheltenham. England, in 1854, 
His parents shortly afterwards came to Canada settling at St Cathar- 
ines. Ont., whence he came when still a very young man, and found 
employment in the bill posting business with Mr. Vincent. He 
married a Miss Cater, and his subsequent career is well known. As 
a manager he has always shown wonderful enterprise, and has ever 
been ready to promote enterprises of merit. The fact of his having 
three theatres at present under his personal management is proof 
conclusive of his enterprising ability. He controls the Academy of 
Music and Theatre Royal, Montreal, and the Grand Opera House, 

GENEVIEVE WARD (Lucia Genovera Teresa, Countess Guer- 
bel), born in New York City in 1848, is the grand-daughter of Gideon 
Lee, who was mayor of New York ; her father was Samuel Ward, 
long in the consular service. At the age of fifteen she was introduced 
to Rosini, who charged himself with her musical education, and pro- 
cured her lessons under Ranzi, director of the Opera at Florence. 
She sang first at La Scala Milan, in "Lucretia Borgia," under the 
name of Guerrabella, an Italianized form of her own name, for she 
was now the wife of Count Constantine Guerbel, a Russian officer. 
In her sixteenth year, while travelling in Europe with her mother, she 
met Lieutenant Constantine de Guerbel, a Russian nobleman, who 
fell desperately in love with her. Having satisfied herself that he was 
what he represented himself, Mrs. Ward, the prudent mother of the 
young girl, permitted the addresses of the young Russian, and a formal 

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engagement was announced. Shortly afterward they were married 
in Paris by civil law, the binding ceremony of the Greek church being 
postponed because Lieutenant Guerbel declared that there was no 
priest of that order in Paris. Even then the two women did not sus- 
pect any dishonorable intention on the lieutenant's part. But Mrs. 
Ward and her daughter did not consider the civil service sufficient, 
and when the mother of the young American singer discovered that 
the young man could not legally marry without the permission of his 
parents, she hurried her daughter off, leaving an indignant letter for 
the young man, and forbidding him ever to see his bride of an hour. 
This matter assumed almost international importance. The young 
singer, convinced that Guerbel had not intended honorably by her, 
travelled to St. Petersburg, flung herself at the feet of the Czar and 
begged that the ceremony might for her honor's sake be completed. 
By the order of the Imperial Father of the Russians this was done. 
The young American went to the altar clad more like a widow than 
a bride, and at the church door she parted forever from the man she 
had learned to mistrust. I fancy they never met again. He died 
some years later, and Genevieve Ward has not re-married. She 
made her debut in English opera at the Concert Garden as Maid 
Marion in MacFarren's Opera, "Robin Hood,"' In the autumn she 
came to America, appearing in New York, Boston, Philadelphia and 
Havana. The great exertion she had undergone and the trying air 
of Cuba proved too much for her, and her voice gave way entirely. 
Rest and change proved ineffectual for its restoration. She determined 
to study for the stage, and on October 1, 1873, made her debut as 
Lady Macbeth at the Theatre Royal, Manchester, with great success. 
She made her first appearance on the London stage at the Adelphi, 
March 18, 1874, as Unarita in "The Prayer in the Storm," in which 
role she drew full houses for six months. In 1877 she went to Paris 
to study under Requier, of the Comedie Francaise, and, on February 
11, played Lady Macbeth in French at the Porte St. Martin Theatre with 
such success that the Comedie Francaise would gladly have enrolled 
her as a member of their distinguished company. Returning to London 
in April, 1879, Miss Ward became lessee of the Lyceum Theatre dur- 
ing the temporary absence of Mr. Irving. On August 22, "Forget- 
me-not" was offered, and her impersonation was pronounced by the 
critics to be without an equal. In December she left for America 
and made a tour with "Forget-me-not" in the chief cities of the Union 
and the Provinces, beginning with Boston. At the end of 1882 she 
returned to England, and again played "Forget-me-not" in the Pro- 
vinces and in London. On December 2, 1883, she sailed for India 
for a tour around the world. She again appeared in America and 
was seen in Montreal in November, 1886. She lives in London, and 
has appeared occasionally with Henry Irving. She was never divorced, 
as she had no desire to marry again, and although she enjoyed the 

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respect of her husband's family, she declined, much to that family's 
astonishment, to take any share of his estates, not even her legal 

CHARLES S. DAVIS, as Alvin Joslin, was favorably known in 
all portions of this country. He came of a theatrical family, and was 
born in Baltimore, Md., October 21, 1852. When but four years old 
he faced the footlights. He had worked in every branch of his pro- 
fession, having been connected with circus troupes. He played 
clown in the regular performances, and afterwards worked in the 
concerts. Having acquired some money, he made up his mind to 
start out on his own account. With a slight sketch for its basis, 
"Alvin Joslin" was started on its career. He made money, and except 
for gratifying an extravagant taste for diamonds, he was reasonably 
saving. With the money he made out of this piece he erected the 
Alvin Theatre in Pittsburg in 1891. Its noteworthy feature was the 
luxurious accommodations provided for the actors behind the scenes 
He died in Pittsburg, Pa., 1st March, 1900. 

MHiNES LEVICK one of the ablest actors ever known to the 
American stage, was born at Boston, Lincolnshire, England, January 
30, 1825, and appeared as an actor in the provinces before coming to 
this country in 1853. Many weary days after his arrival in New York 
he joined the cast of "Uncle Tom's Cabin" at P. T. Barnum's old 
museum at Broadway and Ann Street, playing George Harris at a 
salary of $15 a week, a compensation afterward increased by Mr. 
Barnum to $18 a week. Tours through the United States and Can- 
ada followed, Mr. Levick rapidly becoming recognized as one 
of the leading actors of the day. He appeared in New York in 
Laura Keene's famous company, including Joseph Jefferson, C. W. 
Couldock, E. A. Sothern and George Holland. After this engage- 
ment he returned to Barnum's Museum as leading man, remained 
until the place was burned, when he rejoined Laura Keene, and 
played afterward in a long list of memorable productions, among 
them the great revival of "Julius Ceasar" at Booth's Theatre, play- 
ing the title role. Later he appeared in support of all the great 
stars, his last engagement having been with Minna Gale Haynes, in 
1892, at the Star Theatre in New York City, when he appeared in 
one of his best impersonations, Master Walter in "The Hunchback." 
He died in New York, 18th April, 1897. 

Sallie Holman, at the head of the Holman Opera Company, 


12th January, followed by a troupe of Japs, 26th, 27th. The 
California Minstrels, with Cool Burgess, came 28-29th. and on 
9th February the Holmans returned and opened a two weeks' 

i 13 

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engagement. John T. Hinds, in the " Groves of Blarney," 
came 30th March for week. The event of the season was the 
first appearance at this theatre of the great polyglot German 
tragedian, Daniel E. Bandmann, accompanied by Mrs. Milli- 
cent Palmer-Bandmann. They opened in "Hamlet," 5th 
April; "Merchant of Venice," 6th; "School for Scandal/' 7th; 
"Richelieu," for the benefit of the Young Men's Hebrew 
Society, 8th; "Narcisse," 9th; "Romeo and Juliet/' loth; and 
"Arragh-na-Pogue." This was Mr. Bandmann's second ap- 
pearance in Montreal, his debut having been made at the Aca- 
demy of Music, 17th November, 1879. Mr. and Mrs Mc- 
Dowell appeared for one night, 6th April, in "H. M. S. Parlia- 
ment," followed by the English Opera Company for four 
nights in "The Very Merry Mariner." John T. Hinds re- 
turned, 12th, for week in " The Shaughran '' and " Colleen 
Bawn." The Baldwin Baby Opera Company came week 
19th in " Pinafore," then Haverley's Minstrels, 28th, for four 
nights, and on 18th May the Hyer Sisters were seen in "Out 
of Bondage," and "Uncle Tom's Cabin/' followed by the Big 
Four Minstrels, 27th, 28th, 29th. Isidore Davidson, in "Be- 
nighted," came week 14th June, this being his first starring 
appearance in the city. "Dr. Clyde" was given 21st, 22nd, 
23rd, and W. H. Power, in "The Marble Heart/' 25th, 26th; 
"Lost in London." 28th; "Ticket-of-Leave Man," 29th; "A 
Man of Mystery," 30th, repeated 1st July. On 5th Oliver 
D. Byron produced "Across The Continent," and "Ten Thou- 
sand Miles Away" was also given during that week. Dom- 
inick Murray, in repertoire of standard drama, held the boards 
for three weeks from 12th. On 2nd August, "Under the Gas- 
light" was the attraction for week, and the summer season 
closed 14th with Sidney C. France in " Marked for Life," 
which engagement he began 9th August. The fall season 
opened ist September with J. Franklin Warner's Comedy 
Company in "Speculation." Heme's "Hearts of Oak" came 
week 5th September, with James A. Heme and Fred Chippen- 
dale. A dramatization of Jules Verne's "Around the World 
in Eighty Davs" held the boards from 14th to 25th. An- 
thony and Ellis' "Uncle Tom's Cabin" was the next attrac- 
tion, week 4th October, giving place to "The Galley Slave," 
followed by John A. Stevens and Lottie Church in the for- 
mer's play " Unknown.'' George H. Adams in " Humpty- 
Dumpty" came week 28th October. Mrs. Scott Siddons first 

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appeared as a star at this house week ist November, sup- 
ported by Luigi Lablanche. During the engagement she pro- 
duced "Romeo and Juliet," "School for Scandal/' "As You 
Like It," " Much Ado About Nothing/' " King Rene's 
Daughters," "The Honeymoon/' and "Macbeth/' The 
French Opera Bouffe Co. appeared in repertoire week 8th 
November, which extended to a second week, after which the 
Charles Drew Opera Co. came for a week from 6th Decem- 
ber. This closed the year's annals. 

MART FRANCES SCOTT - SIDDONS was the great-grand- 
daughter of the famous Mrs. Sara Siddons, whose memory is so 
closely allied to that of the Kembles, the elder Kean, Young and 
Macready. Mrs. Siddons had three sons, one of whom, George, held 
a high civil appointment in India. His youngest son, William Young 
Siddons, became a military officer and married the daughter of Col. 
Earl. The issue of this marriage was four children, one of whom is 
the subject of this sketch, born in 1844. After the death of Mr. Sid- 
dons the widow took her children to England and afterwards to Ger- 
many, where they were educated. Mary had met with some success 
as a public reader in the provinces of England before making her me- 
tropolitan debut on April 1, 1867, at the Hanover Square Rooms. 
Such was her success as a reader that she appeared on the regular 
stage 8th April at the Haymarket Theatre as Rosalind in "As you 
Like it." Her first professional appearance on any stage, however, 
was in the spring of 1866 at Glasgow as Juliet. She subsequently came 
to America, where she has been alternately seen as a reader and as 
an actress, but she is better known as a reader. Mrs. Siddons was 
married to a naval officer named Scott, from whom she separated. 
In person she had well been called one of the loveliest women on 
the stage. An actress of little force, her intelligence and beauty did 
much to win her the position she enjoyed as an interpreter of classi- 
<al poetry. She died in Paris, France, 19th November, 1896. 

A French company in repertoire began 


10th January, followed by Harry Weber, week 17th, in "Nip 
and Tuck." Whitmore and Clarke's Minstrels, 3rd February, 
for three nights, and a return engagement of the French com- 
pany, 7th, for a season of several weeks. Nick Roberts' Pan- 
tomime Combination came, 14th February, for four nights. 
An interesting event was the first production here of J. W. 
Collier's "Banker's Daughter/' week of 22nd February, with 
Frank C. Bangs, E. L. Tilton and Mrs. C. Walcot, Jun., in 

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the cast. The French Co. reappeared week of 28th, followed 
by the Union Square Company in Sardou's "Daniel Rochat." 
Malin's Grand English Opera Company, including Janet 
Edmonson (Mrs. Fred Warde), began an engagement nth, 
followed, 1 8th, by the first appearance of that remarkably 
strong aggregation, Basrlow, Wilson, Primrose and West's 
Minstrels. The Malin Opera Company returned 21st, for 
three nights, and on 29th~3oth the Holman Company was 
heard. The great tragedienne, Mad. Janauschek, was first 
seen here, week 9th May, in "Mary Stuart," "Bleak House/' 
"Mother and Son," "Medea/' and "Macbeth." A summer 
season of French Opera was inaugurated, 16th May, under 
the management of Ed. Bageard. The Vokes Family of 
comedians appeared at this house, week 5th July, in a selec- 
tion of chip comedies. "Hazel Kirke" was produced here 
week nth July, 1881, with J. K. Keane as Dunstan Kirke, 
and Helen Blythe as Hazel. Healey's Hibernian Minstrels 
came, 9th August, for one week, followed by Kate Glassford 
in "Led Astray," "East Lynne," and "Camille." "Florence 
Gillette opened, 5th September, in "Romeo and Juliet," fol- 
lowing in " Ingomar/' " East Lynne," " Camine/' " Frou 
Frou," and " Adrienne Lecouvreur." From the sublime 
came the ridiculous in "The Jollities," week 12th. James 
O'Neill and Benjamin Maginley made their first appearance 
here as stars in "Deacon Crankett/' week 19th September. 
Following O'Neill and Maginley came Minnie Palmer in "My 
Sweetheart/' 26th September, this being her first appearance 
here. Baker and Farron came week 3rd October, followed 
by the Harrisons in "Photos," week 10th. Bartley Camp- 
bells "Galley Slave" was seen week 17th, after which the 
same author's play of "My Geraldine" was produced. 
Barney McAuley, as Uncle Daniel in " A Messenger from 
Jarvis Station," appeared week 31st. George Clarke in 
"Connie Oogah" was seen week 7th November, the house 
remaining dark until week of 5th December, when Wren's 
"Uncle Tom's Cabin" held the boards. Joseph Wheelock 
and Rose Keene appeared in "The Planter's Wife/' week 
12th; Helen E. Jennings in "The Two Orphans," and "East 
Lynne," week 19th; and Kraemer's Burlesque Co., week 
26th December, closing the year. Barlow, Wilson, Prim- 
rose and West started in a modest way from Wilmington 
in 1877. Milt G. Barlow and George Wilson were the 
end men, while Ceorge Primrose and "Billy" West 

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" filled up " in the first part and did a song and dance 
in the olio. Barlow is from Lexington, and went into 
minstrelsy as an end man in 1870. Wilson was born 
in London, and became a minstrel in 1867 at San 
Francisco. Primrose is a Canadian, and first "blacked up" 
in 1867, when he used to be announced on the bills as 
"Master George, the infant clog dancer." West was bornjin 
Syracuse, and made his minstrel debut in 1870. He died in 

BENJAMIN MAGINLEY was the most genial of men, with a 
soft spot in his heart for his fellow creature ; firm in his friendship, 
but relentless in his enmity ; honest and upright in his dealings, and 
conscientious in the performance of the most trival affairs of life. 
His faults were few, virtues many, and hundreds of sturdy friends 
and thousands of public admirers lament the abrupt termination of 
so valuable and exemplary a life. Mr. Maginley was born in Philadel- 
phia in 1832, of well-to-do parents, but he conceived an early passion 
for the stage, and began life for himself by joining the stock company 
in Pittsburg, where he did utility business. Always ready to relieve 
the neccessities of others, he imprudently loaned a large sum of 
money to a circus company, and in order to liquidate the 
debt, he was made a member of the firm, under the title 
of Melville, Maginley and Co.'s Great Eastern Circus. His 
spirit of mirth asserted itself in the ring as clown, and many 
are living to-day who laughed at his antics and jests. He 
continued in the circus business until 1875, when he married Miss 
Carroll, a celebrated equestrienne of that time, by whom he had one 
child, Mrs. Buckel, at whose house he died; his wife died in 1876. 
He was also interested in other circus organizations. Mr. Maginley 
resumed the theatrical profession after leaving his circus life, and 
appeared with Lester Wallack in "Rosedale," Dion Boucicault, 
McKee Rankin and others. For nearly five years he was a member 
of the Madison Square company, playing with success in "Esmerelda " 
and "May Blossom." He last appeared in Montreal at the Theatre 
Royal, week 6th July, 1886, in "May Blossom." He died 3rd June, 

STEELE MACKAYE, author of "Hazel Kirke," "Paul Kauvar," 
"Money Mad," etc., was pronounced by Henry Ward Beecher to 
have been the best equipped young man he had ever met. Born in 
Buffalo, N.Y., in 1842, Mackaye showed an early taste for art, and 
studied under Delsarte in Paris. Joseph Jefferson and John McCul- 
lough were among his pupils in a school which he opened in New 
York" In 1873 he played Hamlet in London, and also toured the 
provinces. A genius in art, Mackaye was as princely in his expenses 

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as in his schemes. After writing "Hazel Kirke," Nate Salisbury 
told him he would make $510,000 for him in three years if he would 
wait six months, but Mackaye, who never waited, disposed of the 
play for $10,000. The crowning achievement of his career would 
have been his Spectatorium scheme at the World's Fair, Chicago, had 
not his subscribers withdrawn their influence. Mackaye had ex- 
pended on this conception the energy of his entire vital force*. He 
had called science and song and poetry into his stupendous frescoes. 
No Roman spectacle of Vespasian was to have been so elaborate, 
but there he stood alone by the bleak, grey shores, anticipating the 
chill of unsuccessful age, while behind him lay strewn the wrecks of 
his mighty imagination. Some disappointments rob us even of our 
recuperative strength— to Mackaye the sun had set, the aurora was 
out. Hoping to rekindle the flickering embers, his friends placed 
him on a train bound for California. It flew westward in the face of 
a storm. The snow whirled in wild dervish dances after it. There 
were interminable wastes ahead, storm-ravished, but the train plung- 
ed on. Somewhere in a far region it slowed up gradually, then it 
stopped. No use going any further ! Steele Mackaye, actor, 
author, philosopher, prince of men, had gone on ahead, 3rd March, 

EDWARD LAFAYETTE TIMON died in 1887. He was born 
at Ashland, Mass., 13th June, 1824, and from the time of his debut in 
1845 at Palmo's Opera House, he experienced a long and interesting 
stage career, supporting all the contemporary stars of note. 

EDMUND KEAK OOIXXER some years ago gave promise of a 
coming tragedian, but his ambition was not sufficient to inspire 
him. He came of a theatrical family, being nephew to J. W. Collier 
and Maggie Mitchell, and began on the lowest rung of the ladder 
of tradition. After having been in the support of John McCullough, 
he began a starring tour in the late tragedian's chief roles, also re- 
viving Forrest's great character of Metamora. His New York debut as 
a star was at the People's Theatre, 30th August, 1886. After three 
seasons Mr. Collier returned to melodrama, and appeared in "Paul 
Kauvar." He was afterwards with Mad. Janauschek in "The Sporting 
Duchess/' and lastly "Ben Hur." His daughter, Helen, is Mrs. 
Thomas EL Garrick, and his son, Willie Collier, is becoming a 
recognized star in comedy lines. Mr. Collier died 27th Dec, 1900. 

MIHlfIE PALMER was born in Philadelphia in 1865. She was 
partly educated in Vienna, and having shown a decided hisfrjonic bent 
was encouraged to appear in a juvenile piece tn her eleventh year 
at Brooklyn. Her first real work was at Booth's Theatre at New York 
in 1877, when her uncle, Henry Palmer, had her cast for Unl Dorothy 
\n "Daniel Druce." She has since made a *»tinct «ttc«M m hgt 
comedy roles, not only in the United States and Canada, but also 

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Photo Morrison. Engraved by the Weeks Co. 

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in England. Much of her success has been attributed to John R. 
Rodgers, her husband and former manager, from whom she separated 
a few years ago. Her father was a captain and shipowner. She 
is still before the public. 

JAMES O'KELLL came to America in his early boyhood from 
Kilkenny, Ireland, where he was born 15th Nov., 1849. He was first 
with John Ellsler's stock company at Cleveland, and about 1870 be- 
came comedian at McVicker's Theatre, Chicago, remaining three 
seasons. He then joined Hooley's company there. Here is a little 
romance of an actor's life : Do you remember the tragic end of Miss 
Hawthorne, the leading lady of Richard Hooley's stock company at 
the time of the rage about the handsome young O'Neill ? Oh, it was 
pitiful ! She took that terrible leap in the dark which all men have 
feared since the world began. Miss Hawthorne was living at the 
old Tremont House at the time. She was popular, talented and beau- 
tiful. Her figure was lissome, willowy and graceful like Juno's. Her 
face — ah, well! let that pass. She was worthy of love, and it is said 
that young O'Neill loved her. Other admirers she had in great 
numbers, but he was the favored one. One day he called on her 
at the Tremont. They had an interview in her apartments. It must 
have been a stormy, a heart-breaking, life-crushing interview. Five 
minutes after Mr. O'Neill bade Miss Hawthorne adieu she leaped out 
of a fifth story window and fell on the pavement below a lifeless bundle 
of clothes. There are some events which murder a man's ambition. 
After a year of highly successful work in California, whence his 
fame spread to New York, the rapidly rising young player was 
engaged by A. M. Palmer for his Union Square company. Here 
he was the American creator of the cripple Pierre in "The Two 
Orphans," and became one of the renowned members of a 
renowned troupe. After a time he went back to San Francisco, 
and three years later played a part that no regular actor 
had ever before attempted. This was the Messiah in Salmi Morse's 
production of "The Passion Play." O'Neill, who is of a deeply 
religious nature, after having at first refused pointblank to 
accept the role, brought to it the deepest reverence of which he 
was capable. As one critic said, "to him it was not acting, it was 
devotion." But the public feeling was so strongly against the play 
that, after a few weeks, it was taken off by order of the authorities. 
O'Neill came back to New York, where he was engaged by John 
Stetson to play Edtnond Dantes in "Monte Cristo." In this story of 
Dumas', dramatized by Fechter, O'Neill found his metier. He pur- 
chased the rights from Stetson, and won a fortune. Although he has 
added a few classical plays to his repertoire of late years, he is still 
seen in the old role from time to time. He stands to-day as a 
representative of the most admirable of the methods of the older 

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school of actors, while his work describes the best arts of the 
newer school. 

in Prague, Bohemia, 20th July, 1832, was one of nine children, and 
her father was a merchant. She very early developed remarkable 
musical ability, but the dramatic vein was soon displayed. At six- 
teen she went on the stage at Prague and soon after joined a travelling 
company at a salary of $14 per month. She was favored in having 
a good education, and rapidly advanced. She became a star in her 
twenty-ninth year, and in 1867 came to America with her own com- 
pany. Opening at the Academy of Music, New York, 9th October, 
as Medea, in German, the English-speaking public also recogniz- 
ed her power, and encouraged it as they had Rachel's before her, and 
as they did Bernhardt's and Duse's after. Mad. Janauschek began 
the study of English, appearing in English performances of Lady 
Macbeth, Marie Stuart, Medea, etc., during the season 1873-74. She has 
since appeared in all the principal cities of the United States and 
Canada. She has co-starred with Kate Claxton in "The Two Or- 
phans," and later with Stuart Robson, but Janauschek should have 
retired from the stage twenty years ago. Then she had fame and 
fortune ; her diamonds, the gifts of emperors, kings and other 
potentates, were the envy of her coevals. Where are all of these now ? 
But Janauschek, until recently stricken by paralysis, continued to be 
a great and finished actress. In private life this lady is Mrs. J. W. 

JOSEPH F. WHEELOCK is one of the few legitimate actors of the 
drama who are now left to us, and is an artist of the highest merit. 
He was born in 1838, and began his theatrical career at the Boston 
Museum in 1855. In 1865 he gave the first production in this country 
of "Enoch Arden." He was leading man at Booth's Theatre during 
1873 and 1874, after having acted at McVicker's, Chicago, as leading 
man. Since that time Mr. Wheelock has supported a number of leading 
stars and to-day is still meeting with success. Mr. Wheelock was 
in 1897 elected President of the Actors' Society of America. 


was opened 2nd January, with Fanny Louise Buckingham 
in "Mazeppa/' This was the first appearance here of the 
equestrienne actress. The Amy Lee Opera Company came 
for three nights, 12th January, 1882, followed by Hefen 
Blythe, week of 16th, in "Pique" and "Divorce.'' This was 
that lady's stellar debut in Montreal. Heatey's Hibernian 
Minstrels were seen for four nights from 1st February, and 
on 9th Helen Blythe played a return engagement in "East 

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Lynne," "Pique," "Camille," and "Divorce." "A Noble Pur- 
pose" followed, week 20th; Anthony and Ellis' "Uncle Tom's 
Cabin," with Minnie Foster as Topsy, week 27th; followed 
by the German Opera Company in "Patience," for eight 
nights from 6th March. Neil Burgess in "Widow Bedott," 
supported by G. W. Stoddart, was the next attraction, week 
20th. Tony Denier's Pantomime Company, with Alfred 
Miaco, came 30th March; the Daly Company, in the "Passing 
Regiment/' 10th April; Rentz Santley Burlesque Company, 
24th, for three nights ; Baird's Minstrels, 27th, for three 
nights; and Barry & Fay's "Muldoon's Picnic," 1st May, for 
three nights. The theatre was closed until 4th and 5th Aug- 
ust, when Tony Pastor's Vaudeville Company first appeared 
here, followed by Julia A. Hunt in "Florind!." Barney 
McAuley appeared for the second time here, week 28th, in 
"Uncle Daniel " and "The Jerseyman.'' Atkinson's "Jolli- 
ties" were seen week nth September, and, on 19th, Baker 
and Farron; followed by Topsy Venn, 27th, for four nights 
in "Furnished Rooms"; Maffitt and Bartholomew's "Ma- 
zulme, the Night Owl," 2nd October, for week; M. B. Lea- 
vitt's Minstrels, 9th, for three nights; Minnie Foster's "Uncle 
Tom's Cabin," 16th, for week ; Hanry Weber's " Nip and 
Tuck," 23rd, for week; Hyde and Behman's "Two Johns," 
9th November, for three nights; Harrigan's "Squatter Sover- 
eignty," 14th, for three nights; Davis' "Alvin Joslin," 23rd, 
for three nights; Minnie Hauk in grand opera, 30th, far three 
nights; and W. J. Scanlan in Bartley Campbell's "Friend and 
Foe," 4th December, for week, followed by "The Jolly Path- 
finders," week 18th, and Davene's Vaudeville, week 25th 

FANNY LOUISE BUCKINGHAM had a short but active stage 
career, dating from 1877 to 1890. Born at Chestnut Grove, Ward's 
Farm, Md., 1st March, 1852, Sally Ward was brought up in a manner 
not likely to encourage histrionic tendencies, but circumstances event- 
ually decided the lady to gratify early ambitions, and her first appear- 
ance on any stage was at the Broadway Theatre, New York (now 
Daly's), in the character in which she became famous, Maseppa, 2nd 
July, 1877. Dashing and spirited, as well as possessing a magnificent 
stage appearance, the young lady made a pronounced hit Her engage- 
ment ran for two weeks at the Broadway, and was extended two 
weeks longer at the Bowery Theatre. James Melville, the celebrated 
equestrian, was her first fencing master, and Miss Buckingham subse- 
quently gave that gentleman's name to her famous grey steed. Miss 

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Buckingham tells me that her horse died 25th May, 1895. After her 
successful debut the actress appeared in all the principal cities of the 
United States and Canada with great eclat, not only in "Mazeppa," 
but also in all the equestrian dramas as well as in "East Lynne," 
"Lady Audley's Secret," and "Green Bushes," Miss Buckingham was 
married 8th May, 1880, to William B. Pettit, who managed her pro- 
fessional work until her retirement in February, 1890, her last ap- 
pearance being at the Third Avenue Theatre, New York. 

u So Much for Buckingham." 

He L EW BLYTHE'S dramatic instinct was precociously developed. 
At the age of five she was introduced to the public in children's roles 
by Clara Morris at Norwalk, Ohio, and six years later made her ap- 
pearance as Richard IIL She was born at Fairfield, Ohio, 10th August, 
1861, and had made quite a reputation when she secured her first 
regular engagement at the Cincinnati Grand Opera House. Her real 
name is Blye, but an early mistake in the play bills to Blythe was 
never changed. She made steady headway, and became a great 
favorite in all the principal cities of the United States and Canada. 
Her dramatic methods are of the newer school, and her real strength 
lies in those more human impersonations which the genius of the 
modern playwright and the favor of the public have given a pro- 
minent position on our stage. Her husband is Joseph F. Brien. They 
were married in 1880. 

BERNARD McATJXEY was born in New York, 19th Sept., 
1837. He made his professional debut at the Metropolitan Theatre 
in the same city in April, 1853. He managed Wood's Theatre, 
Philadelphia, from 1868 to 1877, and is said to have realized over 
$ioo,oco during his carter at that theatre. After unprofitable mana- 
gerial speculations, he began touring in "A Messenger from Jarvis 
Station" and "The Jerseyman," but he was not a money-maker, and 
had been left almost penniless. He was known as a most honorable 
man and kind friend. He died 28th March, 1886. 

TOP8T VENN {nee Elizabeth Ann Reynolds) was born at London 
in 1857, and first appeared on the boards as a dancer in 1864. Her 
American debut was made in Philadelphia, 30th April, 1874- She 
married A. H. Steer in 1875, but was divorced in 1882, when she 
married H. S. Cornell, who shortly afterwards disappeared. 

MINNIE HAUK, one of the most gifted of the many bright ona- 
ments which America has contributed to the operatic stage, is on 
record as having been born 16th Nov., 1852, in New York city, ot 
German parents. After European study she made her operatic debut 
in Vienna, subsequently appearing with pronounced success through- 
out the continent, England and America. She is the wife of Chevalier 
Hesse Von Wartegg. Minnie Hauk is still singing. During a recent 

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pleasure, tour through the East Indian tropics she gave a few concerts 
in Batavia, Soerabaja, Singapore, etc The prima-donna was most 
enthusiastically received by English and Dutch alike and won flat- 
tening triumphs. 

GEORGE WILLIAM STODDABT was born at Lancaster, Ekig., 
March 31, 1826. He was the eldest of five brothers, all actors, as were 
also his father and mother. J. H. Stoddart is his brother. After 
playing in the principal cities of England, Ireland and Scotland, he 
came to this country in 1853, appearing at the National Theatre, New 
York, as Harold Skimpole in a dramatization of "Bleak House." He 
afterwards played in all the principal stock companies in this country, 
including those of the Boston Museum under Thos. Barry, Laura 
Keene, and with Mrs. John Drew at Philadelphia. He was consid- 
ered one of the best light comedians of his time, having supported 
Macready, Forrest, the elder Booth, Charlotte Cushman, Mathews, 
Charles Kean, etc. Of late years he played old men, his Elder Shadrach 
Sniffles in the "Widow Bedott" with Neil Burgess being fully as 
prominent as Mr. Burgess* Widow, In 1885 Mr. Stoddart retired 
from the stage on account of illness, and died 9th July, 1888. His 
daughter is Mrs. Neil Burgess. 

HUGH FAY died in 1894. He had been a well-known droll in that 
absurd risibility "Muldoon's Picnic" for twelve years, associated 
^with William Barry. 

WILLIAM BARRY died in Brooklyn, 15th April, 1898. He began 
stage life as an end man and later served in the war. He always was 
a popular vaudeville comedian, and for a time had Harry Kernell as 
his stage partner. In 1882 he became associated with Hugh Fay, 
and both became favorites with that class of theatre-goers who 
thronged to see their skit "Muldoon's Picnic." After Fay s death 
he starred alone, and with "The Rising Generation" he made $70,000. 

THOMAS ALFRED MIACO (nee Alfred Frisboe), a clever pan- 
tomimist frequently seen here, died 16th April 1893. 


was opened by Leavitt's Minstrels, 26th January. Miaco's 
"Humpty-Dumpty" came 19th February, followed by the first 
star appearance here of Pat Rooney. Fostelle, in "Mrs. 
Partington," came week 10th April; Rentz-Santley Burlesque 
Company, 19th, for three nights; the Guy Family, 23rd, for 
three nights, in "A Carnival of Fun" ; Gorman's Irish Special- 
ty Company, week of 26th ; and Lizzie May Ulmer in "49 " 
week 30th April. The ennrmous individuals. General an«l 

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Mrs. Tom Thumb, were the feature of the season, commenc- 
ing a week's engagement 7th May. On nth June "The 
Veteran'* was produced, and on 18th, for three nights, "The 
Danicheffs, ,, followed by "The Banker's Daughter" for three 
nights ; Tony Pastor's Company in vaudeville for three nights 
27th; Topsy Venn in "Furnished Rooms," week 2nd July; 
"Ten Mile Crossing/' 27th July, for week; Charlotte Thomp- 
son in "The Romanoffs," and "Jane Eyre," week 3rd Septem- 
ber; Milton and Dollie Nobles, week 10th, in "The Phoenix" 
and "Interviews." Prof. E. C. Taylor, the magician, opened 
week 17th September, followed, week 22nd, by J. J. Dowling 
in "Nobody's Claim"; Kelly and Ryan's "Zanfrettas," 1st 
October for week; E. T. Gooderich in "Monte; or, a Double 
Life," week 15th; Girard Eyer's English Novelty Company, 
week 22nd ; Ravel's "Drawing Room Circus," 5th November, 
for two weeks; Helen Jennings' "An American Marriage," 
week 19th; "Two Johns/' week 26th; Vaudeville, week 2nd 
December; Rentz-Santley Burlesque Company, week 10th; 
Hyde and Behman's "Derby Day," week 17th; Miner's Com- 
edy Four, 24th, for three nights; and Smith's Hand Bell 
Ringers, 27th, for three nights. It was in the early summer 
of 1883 that H. R. Jacobs opened the tent show at the corner 
of University and St. Catherine streets, and laid the founda- 
tion to a fortune. On 19th November of that year the 
Mechanics' Hall was also opened for a long season of Vaude- 
ville at 10, 20 and 30 cents. 

TOM THUMB died 15th July, 1883. He and his wife were at the 
time visiting friends at Cincinnati. The General was born at Bridge- 
port, Conn., 4th Jan., 1838, and his right name was Charles Sherwood 
Stratton. He was first exhibited by Barnum, 8th Dec, 1842. He 
then stood 24 inches and weighed 16 lbs. In 1862 he met Lavinia 
Warren, while on exhibiton at Barnum's museum. The diminutive 
couple fell in love and were married at Grace Church, New York, 
10th Feb., 1863. After a two weeks' wedding tour, Mrs. Tom Thumb 
retired to private life, but returned to the public view a few months 
later. Mr. Barnum then arranged a three years' tour around the 
world for the little folks. They left New York, June 21, 1869. In 
Great Britain they exhibited in two hundred and eight towns, and 
left Liverpool for this country June 12, 1872, arriving here three 
years from the time of their departure, having in that period travelled 
55,487 miles and given 1,471 performances, in 587 different citie3 and 
towns. Afterwards they toured this country up to the time of 
Tom Thumb's death. 

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MRS. GENERAL TOM THUMB, afterwards Countess Magri, and 
whose maiden name was Mercy Lavinia Bump, was born in Middle- 
boro, Mass., Oct. 31, 1842. After she became a year old she grew very 
slowly, and ceased entirely at the age of ten. She attended school 
regularly with the other children of the neighborhood, and found 
no trouble in keeping up with them in her studies, as she was consid- 
ered very bright. At home she was taught to do all kinds of house- 
hold work. In 1862 she was engaged by P. T. Barnum for his 
Museum, New York City, at which place Tom Thumb was then on 
exhibition, and they were married, as already noted, in 1863. It was 
during her first engagement that she assumed the name of Lavinia 
Warren. Both were forty inches in height. In 1884 Mrs. Tom Thumb 
organized a company for the road (Gen. Tom Thumb having died July 
15, 1883), among whom were the Magri Bros. Count Magri and 
Mrs. Gen. Tom Thumb were married April 6, 1885. 

COUNT PRIMO MAGRI was born in Bologna, Italy, in 1850, 
and was one of a family of thirteen, children, three of whom are small, 
while the other ten are of ordinary height, as were both the parents. 
Count Primo is thirty-seven inches tall and weighs fifty-two pounds. 
His brother, Baron Ernest Magri is thirty-eight and one-half inches 
in height, and weighs fifty-four pounds. In company with his brother. 
the Count began travelling in 1865. In 1878 they came to this country 
and made a tour of the States, remaining in California and Oregon 
about three years. In 1882 they were engaged to travel with Mr. and 
Mrs. Gen. Tom Thumb. 

PAT ROONEY-, the well-known Irish comedian, was always a 
favorite with a certain class of play-goers, and since his death, 28th 
March, 1892, his place has not been filled. He was born in Ireland 
in 1844, and at the age of fourteen was already a clever dancer. He 
did Irish character work for twelve years in the English music halls, 
and came to America in 1871. 

MR. AND MRS. NOBLES. Milton Nobles (real name Tamey) is 
a graduate of the old stock system, and an actor of ability. He was 
born in Cincinnati in 1847. He starred in his own plays for nearly 20 
years, and has been fairly successful. Dolly Woolwine-Nobles was 
born at Lebanon, O., in the sixties, and was educated in Cincinnati. 
Her first professional experience was as a member of the Summer 
Stock Company at the Dayton Soldiers' Home, where she attracted 
much attention as Louise in "The Two Orphans" and similar charac- 
ters. Mr. Nobles, then playing "The Phcenix" and "A Man of the 
People," was looking about for a young and attractive soubrette. A 
member of his company, who had been in the company with Miss 
Woolwine at Dayton, sang her praises so incessantly that they 
entered into a professional engagement in Jan., 1881, and in the 
following June they were married. Of recent years they have been 
appearing in vaudeville. 

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was opened by a vaudeville company from 31st December, 
1883, followed by Ada Gray in "East Lynne/' this being the 
last attraction to play at this house under the old prices. lhe 
fortunes of the old Royal had been at a very low ebb for some 
time, and Mr. Sparrow at this time entered into a partnership 
with H. R. Jacobs to carry on the lesseeship and manage- 
ment at popular rates of 10 and 20 cents, subsequently raised 
from time to time until the present admission price of 10, 20 
30 and 40 cents has been reached. The theatre was for a 
couple of seasons styled the Royal 1 Theatre Museum, but the 
old style was afterwards resumed. Vaudeville held the 
boards throughout most of the season. Bonnie Runnels, who 
had appeared under Jacob's tent show, and whose popularity 
had no little to do with making that venture the success it 
achieved, reappeared at this house, nth Feb., in conjunction 
with the Hollywood Family. They put on "Cinderella" for 
two weeks from 3rd March. Partington's Comedy Company, 
in "Rooms for Rent," appeared week 26th Sept.; " Capers/' 
week 13th; Pauline Markham, in "Two Orphans/' and "Tic- 
ket-of- Leave Man," week 20th; J. H. Gilmour, in "Monte 
Cristo/' week 10th November ; " Under the Gaslight," and 
"The Governor," week 17th; and Daniel E. Bandmann for 
two weeks from 24th November in " Hamlet," "Lady of 
Lyons," "Merchant of Venice/' "Called Back," during first 
week, and "Called Back," "Narcisse," "Hunchback," and 
"Richard III.," during the second week. He was supported 
by Louise Beaudet and Chas. Thornton. J. H. Gilmour, in 
"Rosedale," week 15th December; "Enoch Arden," "Leah, 
the Forsaken/' and "Oliver Twist," week 22nd; and Lottie 
Church and Charles Barringer, in "Unknown," week 29th 
December. The other dates were filled up by vaudeville 
combinations. During the summer season the Tent Show 
was again catering to cheap patronage. A new theatre was 
also opened on Beaver Hall Hill under the lesseeship of Beau- 
cleigh & Co., opening for a few weeks from 3rd May. It 
was also during the same season that Roland G. I. Barn^tt 
opened the Crystal Palace Opera House with " Iolanthe/' 
24th May. 

LOUISE BEAUDET will long be remembered as one of the 
most versatile artists of her generation. She has won unstinted 
applause in a range of roles varying from Lady Macbeth to M'Ue Fifi 

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and dancing soubrette. Born in France about i860 Louise was 
brought to America as a child and received most of her education in 
the convents of Montreal. Her first stage appearances were in 
opera bouffe. It was in San Francisco twenty years ago that she 
attracted the attention of Bandmann, the tragedian, who conceived 
the idea of transforming la petite Louise into a Shakespearean 
artiste. She accompanied him on his great eastern tour which term- 
minated in 1884, after which they toured in America for several 
seasons. The association between the two was dissolved upon the 
retirement of Bandmann from the mimic scene. Ten years ago 
Miss Beaudet returned to the field of comic opera. 

PAULINE MAR KHAM began her stage career in England at 
an early age, first appearing at the Princess Theatre, Manchester, 
thence to the Queen's Theatre in London in 1867. She was one of the 
several handsome young women who accompanied Lydia Thompson 
to America, opening at Wood's Museum, New York, 28th September, 
1868, in the burlesque in "Ixion," with Miss Markman as Venus. The 
charming young women of the company were much in evidence that 
night ; so much in evidence that some, of the audience hissed and 
others laughed loudly at what seemed the audacity of the perform- 
ance. But much transpires in thirty years. Conditions and view 
points change. The performances which electrified New York in '68 
would seem a bread-and-milk affair to the burlesque audience of to- 
day. The burlesque of those days has long since been laid upon the 
shelf as too tame and out of date to be useful. All the planets that 
revolved and twinkled about the sun, the dazzling Lydia, are for- 
gotten or buried in the memories of old men. The clergy thundered 
forth its denunciations and some of the r papers said harsh things of 
the representation, particularly the Chicago Times, and for this editor 
Story received a whipping at the hands of Lydia Thompson, assisted 
by Miss Markham. Pauline became very popular in burlesque, and 
subsequently appeared in the "emotional" at the cheap theatres, 
supported by her second husband, Randolph Murray. She was first 
married to Col. MacMahon. 

BONNIE RUNNEIXS was a very droll comedian of German ec- 
centricities and first appeared in Montreal during June, 1883, at Jacob's 
Royal Museum and Theatorium. Thousands were attracted to the 
resort to see the work of that merry son of Momus. # His engagement 
lasted throughout the summer season. He was born at Edinburgh, 
Scotland, in 1844, and died of paralysis at Chicago, 16th August, 1884, 


was opened by Jennie Calif, in "M'liss," 5th January, followed 
by "The World," in which Charles Barringer and W. H. Ly- 
tell appeared; "The Miner's Daughter/' week 19th; Fanny L. 

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Buckingham, in "Mazeppa," week 26th; Corinne, in opera, 
week 2nd February; Daniel K. Bandmann, supported by 
Louise Beaudet, week 9th, in "Othello," "Romeo and Juliet," 
"East Lynne," "Don Caesar de Bazan," and "Richelieu/' 
evening of 14th, which was Mr. Bandmann's last appearance 
in Montreal. "Fun on the Bristol" came week 16th; Miaco's 
"Humpty-Dumpty," 23rd; "Sawyer's Mine/' 30th; Dow lings 
"Nobody's Claim," 9th March; 'Ten Mile Crossing/' 17th; 
"Octoroon/' and "Christine Johnston/' by Tayleur's Com- 
pany, 23rd; Frances Bishop; in "Mugg's Landing," 30th; Jas. 
A. Heme, in "Hearts of Oak," 6th April; "Uncle Tom's 
Cabin," 13th; Pauline Markham, in "The Two Orphans/' and 
"The New Magdafen," 20th; "Ranch 10," 27th; Helen Blythe 
and Joseph F. Brien, in 'The Silver King," 4th May, Law- 
rence Hanley appearing as the Spider. This was his first 
professional engagement, he tells me. "Our Strategists," 
nth; Wilbur Opera Company, 18th; "Zozo/' 25th; "Hoop 
of Gold," 1st June;' J. H. Gilmour, in "My Partner/' 8th; 
"Stranglers of Paris," 15th; Janet Edmonson, in "Pirates of 
Penzance/' 22nd. During the second week of her engage- 
ment was produced, for the first time in Montreal, Gilbert and 
Sullivan's "Princess Ida." "lolanthe" was put on during the 
third. Miss Edmonson closed her four weeks* . engagement 
18th. The attaches of the theatre were given a benefit 27th, 
when the theatre was closed for the summer. The terrible epi- 
demic of smallpox which raged during the summer of 1885 
delayed the fall opening until 5th October, when Bennett 
Matlack, supported by Stella Rees, appeared in "A Celebrated 
Case," "Hamlet/' and "Damon and Pythias/' "The Dan- 
ites" followed, week 12th; "After Dark/' 19th; "Only a Far- 
mer's Daughter," and "Only a Woman's Heart/ 26th; Jos. 
Proctor, in "Nick of the Woods," 2nd November. This was 
the veteran's last appearance in this city. The boards of the 
Royal were held by a company in "The Streets of New York," 
and "Jessie Brown/' week 9th November. Two weeks of 
vaudeville followed; then Gustavus Clark, in "Monte Cristo," 
week 23rd November ; " The Silver King/' and " Lucky 
Ranch/' week 30th; Phosa McAllister and Robt. E. Graham, 
in "The Pavements of Paris," week 7th December; "Jolly 
Argonauts," week 14th; and Alice Oates in burlesque opera 
for two weeks from 21st December, presenting "Robin 
Hood" and "The Field of the Cloth of Gold." She did not 
reappear in this city. 

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BENNETT MATLACK was born at Wilmington, Del, 4th Oct., 
1842 ; died in Brooklyn, N.Y., 19th Aug., 1898. We find him first as 
an amateur in Wheatley's Association, during which time he played 
Ham.ct in Philadelphia. His first important engagement was at 
Booth's Theatre in a production of Sardanapalus in 1876. In 
ran 160 nights. During his career he played with Anna Dickinson, 
F. B. Warde, Roland Reed and T. W. Keene. He starred two 
seasons in "A Celebrated Case," "Hamlet" and "Virginius," and 
had latteny been teaching elocution. 


of Montreal theatricals was opened in 1886 by Dominick 
Murray in "Escape from Sing Sing," week 4th January, fol- 
lowed by the stellar debut here of Edwin Arden, in " Eagle's 
Nest," week nth. Frederick Bock came week 18th in "The 
Power of Money"; Gibson & Ryan, in "Irish Aristocracy," 
week of 25th ; James Hardie and Von Leer, in "A Brave Wo- 
man" week Feb. 1 ; Miss Buckingham, in "Mazeppa," week 
8th February; Jos. J. Dowling and Sadie Hasson, in "No- 
body's Claim/' week 15th; "Argonauts of 49/' week 22nd; 
J. Z. Little, in "The World," week 1st March; Lilly Clay's 
"Adamless Eden/' week 8th; Geo. C. Boniface, in "Streets of 
New York/' week 15th; Pauline Markham, in "The Two 
Orphans," "Led Astray," "Camille," and "East Lynne," w«ek 
22nd; Austin's Novelty Co., including the Austin Sisters, 
week 29th; Frances Bishop, in "Mugg's Landing/' week 5th 
April. Leavitt's Vaudeville Co. came week 12th April; and 
Louise Pomeroy, supported by her husband, Arthur Elliott, 
began week 9th April in Shakespearean repertory, including 
"Hamlet," "As You Like It," "Romeo and Juliet," "Richard 
III.," and a few standard dramas. The opening bill, "En- 
gaged," was performed under the disadvantages of the flood 
filling the entire orchestral portion of the house, which was 
illuminated by oil lamps. The engagement was, neverthe- 
less, a financial, as well as an artistic success, Miss Pomeroy 
being greatly praised for her characterization of the melancholy 
Prince, as well as for her other assumptions. This was her 
first and last engagement here. The Rent z-Sant ley Combina- 
tion followed week 26th; and Nicholas S. Wood, the "Bo- 
Actor/' came week 3rd May, being seen in "The Boy Detec- 
tive," and "The Boy Scout." Edwin Arden, in "Eagfle v 
Nest/' returned week 10th May; Grav and Stevens, in "Sav^e^ 
from the Storm/' week 17th; O. D. Byron's "Across tb*» CV>«- 


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tinent," week 24th; "Zozo, the Magic Queen," week 31st; 
H. P. Chanfrau, in "Kit, the Arkansas Traveller," week 7th 
June; Billy Kersand's Minstrels, week 14th; andCorinne, in 
extensive comic opera repertoire, two weeks from 21st. The 
Company remained over until 5th July, on which date was 
tendered a benefit to the attaches of the house, which closed 
until 9th August, when the season was reopened by Clap- 
ham's Minstrels, followed by George H. Adams, in "Humpty- 
Dumpty," week i6di; "A Cold Day," week 23rd; James C. 
Padgett (died 16th February, 1896), in "The Long Strike," 
supported by Emily Fairchild, week 30th; Ben Maginley, in 
"May Blossoms," week 6th September; Horace Lewis, in 
"Monte Cristo,'' and "Two Nights in Rome," week 13th; 
Harry Lacy and Edna Carey, in "The Planter's Wife,'' week 
20th ; Gray and Stephens, in " Storm Beaten," week 27th ; 
Phosa McAllister, in "Taken from Life," week 4th October. 
During the Saturday matinee performance a small panic was 
caused by the noise of a small boy being rushed down the 
back stairs by a stalwart "bouncer." No person was hurt, 
and, after a few minutes of interruption, the play proceeded. 
The Wilbur Opera Co. was heard in standard repertoire week 
nth; King Hedley, in "Youth," week 18th; Victory Bate- 
man and John Burke, in "Romany Rye," week 25th; Murray, 
in "Escaped from Sing Sing," and "From Palace to Prison," 
week 1 st November; Gray and Stephens, in "Without a 
Home," and "Saved from the Storm/' week 9th; Austin's 
Novelty Co., week 15th; "A Prisoner for Life," week 22nd; 
"The World," week 29th; Edwin F. Thome, in "The Black 
Flag," week 6th December; Neil Burgess in "Vim," week 
13th; "The Pulse of New York," week 20th; and "Blackmail," 
week 27th, introduced the reputed Brooklyn bridge jumper, 
Steve Brodie. This attraction closed the year, as well as the 
annals of the theatre so far as the compass of this compila- 
tion is concerned. Inasmuch as the list of subsequent at- 
tractions have varied little from year to year, the task of read- 
ing the events would necessarily be as monotonous to the 
reader as recording them would be laborious to the compiler. 
The partnership existing between Sparrow and Jacobs was 
dissolved in 1898, when Mr. Sparrow became sole lessee. 

Mill N IE OSCAR GRAY made her first appearance in John T. 
Raymond's company at Savannah, Ga., in 1870. In 1878 she beeran 
"tarring with her husband, William T. Stephens, at Baltimore, Md., 
and by a strange coincidence she made her last stage appearance 

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also in that city in 1893, retiring for a few years. She has since 
returned to the boards, however, and is at present touring in the 
English provinces. 

LOUISE POMEROY-EXXIOTTwas the daugter of Col. Ryder, 
of Cleveland, O., and was in her fortieth year when she died, 7th Jan- 
uary, 1893. Her first husband, whom she wedded in 1871, was Mark M 
("Brick") Pomeroy. She had been a pupil of the old-time tragedian, 
J. B. Roberts, and on her wedding day her husband gave her, as a gift, 
an Opera House in the West, valued at $75,ooo. Her first profes- 
sional appearance on the stage was 16th October, 1876, when she 
appeared as Juliet at the Lyceum Theatre, New York. Her inclination 
for the stage resulted in a choice in 1877, and in 1885 she visited 
Australia, where she met Arthur Elliott, a tragedian, whom she 
married in 1883. Mr. and Mrs. Elliott came to America in 1884, and 
began starring on their own account, as well as appearing in leading 
support to other stars. Mrs. Elliott possessed good literary ability 
and had played nearly all of Shakespeare's heroines as well as portray- 
ing a very strong and intelligent characterization of Hamlet. Arthur 
Elliott during the fall of 1900 was the leading man of Mr. Grose's 
Montreal Stock Company. 

JOHN Z. LITTLE, a native of Philadelphia, was at one time 
manager of a theatre in Chicago. He toured the country in "The 
World/' in which production he played the leading part, and was 
financially successful. He died 9th March, 1900, aged 62. 

GEORGE C. BONIFACE, born in New York city in 1833, first 
appeared on the amateur stage as a member of the Olympic Theatre 
company, and subsequently joined the stock company of the Holiday 
Street Theatre, Baltimore, making his first professional appearance as 
Capt Blenheim in "The Rough Diamond." After three months he 
became a member of the Pittsburg Company, and in 185 1 he appeared 
at the Richmond Hill Theatre, New York, with Mr. and Mrs. John 
Drew. After gaining some experience in other large cities, Mr. 
Boniface opened at the Bowery Theatre as a joint star with George 
Arnold, playing Iago to his Othello. I quote the following from his 
own narrative: "This was a very few years after I left New York 
a fledgeling, and when my old friends all came to see me and made 
a little tin god of me* I was quite proud of myself, you may be sure. 
I next went to Richmond, playing opposite parts to James H. 
Taylor, and was next in support of Junius Brutus Booth as Ratcliff 
in 'Richard III.' I was not given the part until the night before I 
was to play it, and was nervous at the prospect. I thought that I 
had it pretty well, however, until King Richard said to Ratcliff: How 

now ? What news ? I should have answered 'My gracious sovereign. 

upon the western coast there rideth a puissant navy,' etc. But my memory 

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had deserted me ; all I could say was : 'There's a big fleet coming up 
the bay.' " Mr Boniface was afterwards seen in the support of such 
stars as Forrest, Cushman, Heron, and in 1864 toured through the West 
in a round of Shakespearean roles. Air. Boniface continues as 
follows : "Then I came back to New York, and played the leading 
juvenile part in The Black Crook/ and afterward did the same kind 
of work in "The Twelve Temptations.' The Boston Globe Theatre 
was my next field of activity. I was leading juvenile and chief support 
of Edwin Forrest during his engagement there. One day Mr. Forrest 
was taken suddenly ill and at 6 o'clock in the evening I was asked if 
I would play Richelieu in Forrest's place that night. I played the role. 
Then I went on a starring tour to Dublin, came back and opened 
about 1870 at Wallack's Theatre in the original production of 
'Pygmalion and Galatea/ originating the role of Pygmalion. I was 
also the original Micawber at Niblo's Garden in 1869, and the original 
David Garrick at the Broadway Theatre, New York. Of recent years 
I have starred in 'Soldiers of Trust/ 'Micawber/ 'David Garrick, 
'The Streets of New York.' 'Under Cover' and 'Rosedale/ For 
three seasons, from 1889 to 1892, I was a member of the Boston 
Museum stock company, and was in the original cast of 'All the 
Comforts of Home/ And this brings us pretty nearly up to date/' 

NICHOLAS S. WOOD was born at Bingen on the Rhine in 1861, 
and first appeared on the stage at Booth's Theatre in 1871 as a page 
in "Romeo and Juliet." When he was only fourteen he made his 
appearance as a star as "Poor Joe" at the same theatre. During the 
engagement he played "Hamlet," and subsequently enacted "The Boy 
Detective" at the Old Bowery Theatre. He has also appeared in 
the following dramas: "Fool's Revenge/' "Richard III./' "Jack 
Sheppard" "Boy Scout," "Dick, the Newsboy," "Jack Harkaway." 
He has also appeared with Lester Wallack in the comedy of "A Scrap 
of Paper" and "My Awful Dad" in New York city for a period of 
eleven weeks. The newsboys and bootblacks are especially fond 
of him, and the Philadelphia newsboys at one time showed their 
appreciation of him by presenting him with an elegant gold medal, 
which he now wears. 

EDWIN ARDEN ( rea l name Edwin Smith), a capable young 
actor, proved to be a strong drawing card for several seasons in 
"Eagle's Nest," which he wrote in collaboration with his father. 
Arden Smith. They were also the joint authors of "Raglan's Way," 
also the dramatization of "Louis XI.," from Sir Walter Scott's 
"Quinten Durward," for Thos. W. Keene, the tragedian. Mr. Arden 
is married to Mr. Keene's daughter. His father, Arden Smith, died in 
Oct., 1897. Edwin Arden was born in 1861, and first appeared on the 
stage in Chicago in 1882, as Tyrrel in "Richard III." He starred for 
six years in "Eagle's Nest/' following which he was for two seasons 
in support of W. H. Crane and one season with Julia Arthur. 

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Among the prominent people who have had the curtain rune- 
down on them for the last time are : 

t F ff 1 ! K *? T o? AY3 " E ' Wh ° a PP eared a t the Theatre Royal, week 
of 28th April, i88 7 , died !6th March, rifc,. He was born in X and 
first appeared on the stage in 1862. He was featuring as an expert 
shooter m "S« Slocum," and by an unfortunate miss caused the death 
of his leading lady, Annie Von Behren, 30th November, 1882. • 

JAMES r, EDWARDS, last seen here week of pth October 1888 
as Jack Heme m "The Romany Rye," died 14th June, ,891 in iS 
th.rty-e.ghth year. At the time of his death he was a member of H R. 
Jacob s company playing "The Way of the World" at Havlin's The- 
atre, Chicago, and was found dead in his room. Mr. Edwards was 
a vigorous actor, and had of late years played leads in numerous 
travelling companies and in support of well-known stars. 

DAN MCCARTHY, so popular in "True Irish Hearts," in which 
he starred from 1886 to 1892, died 15th Jan., 1899, aged 39. He and 
his wife, Kittie Coleman, first appeared in the varieties. 

GEORGE T. TTI.MER, frequently seen here died =>, r 
^Klondike) rst March, 1899, aged I He hVd btn aVumlneV 
.n the Civ,l war, and his first stage efforts were as a member of the 
belwyn stock company in Boston, 1868. He was the husband of 
i-izzie May Ulmer. 


situated on Gosford Hill, between St. Louis and Champ de 
Mars streets, was Montreal's eleventh theatre. It was the 
original Trinity Church, and, later, the "Garrison Chapel." 
The place was afterwards used as militia offices, and in time 
purchased by the Catholic diocese of Montreal. In 1870 the 
property passed into the hands of John A. Rafter, the pur- 
chase price amounting to $11,000, and several thousand dol- 
lars more were expended in fitting up the place for theatrical 
purposes. It had one gallery, and altogether had a seating 
capacity for 1,000 or 1,200. The property was held by Mr. 
Rafter until 1878, when it was purchased by Michel Lefebvre 
for a vinegar factory. Andrew Brissett & Fils are its present 
occupants. Melvin (Diamond) Smith was its first lessee; 
then McLeish and Fortin assumed control. During a short 
season, commencing 21st September, Hartley Neuville was 
the manager. The house was then known as the Palace Musi- 
cale. Neuville was fairly successful, but was under rather 
high rental, having a sublease from Fortin. During the 
month of November the name of the theatre changed to 
Neuville's Variety Theatre. The principal attraction was 

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Miss Sophie Neuvilfe at the head of vaudeville performances. 
"George Pogey" was a favorite production, and in its cast 
appeared the leading people attached to the house, viz. : Hart- 
ley Neuvilte, Albert Smith, J. Elseman, G. Esmond, Jacob 
Nibbs, Sophie Neuville and Annie Hindle. It continued 
under the same management until the spring, when, after a 
short close, it reopened as the New Dominion Theatre, 4th 
August, 1873, under the management and lesseeship of A. 
Macfarlane, with the Zanfretta Ravel Troupe, which included 
at the time Jessie Macfarlane and Jennie Kimball, then a serio- 
comic artist. 

MRS. JENNIE KIMBALL, the well-known manageress, died 
March 23, 1896, in St. Paul, Minn. She was born in New Orleans, 
La., June 23, 1848. Her first public appearance was as Obcda in "Blue- 
beard" at the Boston Theatre, in 1855. On the completion of her 
studies she was engaged for leading soubrette business at the Con- 
tinental Theatre, Boston, in 1868, appearing as Cinderella in Byron's 
Burlesque and Stalacta in "The Black Crook." In 1881 Miss Kimball 
commenced her career as a manageress, organizing an opera 
company of juveniles, of which Corinne was the star. They continued 
uninterruptedly successful until the interference of the Society for 
the Prevention of Cruelty to Children, of New York city. After the 
celebrated trial, which gave Mrs. Kimball and Corinne much notoriety, 
they played throughout the United States and Canada, meeting with 
considerable success. Mrs. Kimball had a capacity for work that 
was something marvellous, and had by her untiring energy and 
executive ability brought Corinne to the front rank as a star. Mrs. 
Kimball, who was a widow, was married to Arling Schaefer, October 
h 1893, at Milwaukee, Wis. 

The management of the house changed hands in Novem- 
ber, George J. Deagle assuming control and continuing in 
vaudeville features until the spring of 1874, when E. M. Hall 
became manager under the lesseeship of Gonghier and Mal- 
lette. In April we find the style changed to the Royal Opera 
House. On 10th November Shoemaker and Leslie became 
its managers, and among its principal attractions was Annie 
Hindle, tire well-known male impersonator. 

ANNIE HINDLE. In Jersey City, N.J., in 1892. occurred one of 
the strangest funeral spectacles ever witnessed in this or in any other 
country. Annie Ryan, the wife, was dead, and Annie Hindle, the 
husband, was burying her. Beside Annie Hindle being a woman's 
widower she was also a man's widow. What wonder that the funeral 
was unique. About 1852, Annie Hindle, then 5 years old. was adopt- 

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ed by a woman in England and went on the London stage. She was 
popular as a singer from the start, and as she grew older her popular- 
ity increased. Her forte was as a "male impersonator." In 1867 
she came to New York, and her accuracy of mimicry reaped fame 
and dollars. At the same time Charles Vivian, an English actor and 
founder of the Order of Elks, was in this country, and he and Annie 
fell in love. In 1868 they were married in Philadelphia, Pa., and a 
few months later separated forever at Denver, Col. In 1880 Vivian 
died at Leadville. Annie continued on the stage, gaining fame, making 
friends and winning money. One of those who waited upon her in 
her character as "male impersonator" was Annie Ryan They were 
much attached to each other, and one night in June, 1886. the couple 
were married by a minister at Grand Rapids, Mich. For four or 
five years Annie Hindle and her wife, Annie Ryan, lived happily on 
Jersey City Heights, in a neat little house which Hindle had built 
years before. The neighbors respected them; the world did not 
disturb them with its gossip; fortune was kind to them. There were 
many mourners over the bier of Annie, but the deepest sorrower 
was Annie Hindle. A strange fate has overtaken Annie Hindle, who 
has 'passed her life impersonating men on the variety stage. She has 
grown a moustache, and believes at times that she is a man. In male 
dress she presents all the appearance of an ordinary man. Annie 
Hindle was originally a rather pretty giil, very thick set and sturdy 
in physique. A faint line of black hair adorned her upper lip. 
Then she shaved the lip, with the result that the hair came out thicker 
than before. When she took to impersonating men on the stage 
she shaved regularly, and eventually succeeded in raising a fine 
moustache. She also shaved her chin, and that part of her face pre- 
sents the customary appearance of a shaven surface. Her voice be- 
came masculine in tone, and recently it appears that her mind has 
become somewhat unhinged on the subject of her sex- 

Gerty Granville was also a favorite during this time, her 
song of "Down in a Coal Mine" being very popular, as was 
also Iona Lang. The Ben De Bar season of 1875 was tne 
most notable in the history of the theatre, which again 
changed its name to De Bar's Opera House on 3rd May, 
Under Mr. De Bar's management, with Baker and Farron 
in "Chris and Lena." The tragedian, T. C. King, appeared, 
17th, in " Macbeth'' ; " Richelieu," 18th ; "Hamlet/' 19th ; 
"Othello," 20th; "Bizarre," 21st; and "Ingomar,'' 22nd, when 
he closed. Dominick Murray came week 24th; Ada Gray 
week 31st; J. J. Wallace, in "The Man from America," week 
7th June; George L. Fox, in "Humpty Dumpty,'' week 14th; 
Ro?e Wood and Lewis Morrison, in "A Bit o' Ash," week- 

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21st, this being Mr. Morrison's first star appearance in Mom- 
real. I\ E. iSuliivan, in "Kathleen Mavourneen," was seen 
28th June. Thomas G. Riggs and \V. F. Harris appeared 
week 29th ; and Daly's Company, which had been fulfilling an 
engagement at the Theatre Royal during the previous week, 
opened in "A Big Bonanza," 5th July, for week. Following 
came Lizzie Pierson and Charlotte M. Stanley in "The Marble 
Heart." Tony Pastor, Belvil Ryan, Troupe of Japs, Lizzie 
Wilkinson and John Thompson starred successively, and on 
23rd August Rena and Fred. G. Maeder appeared in "Hazel 
Eye," and "Kit Carson." Augusta L. Dargon, in "Camille," 
and "Lucretia Borgia,'' came week 30th; Miss J. Vandyke 
week 6th September; John Dillon week 14th; and a return 
engagement, 20th, of Thos. C. King in Shakespearean reper- 
toire. The season closed 27th, with "Belphegor," in a bene- 
fit performance to Henry W. Mitchell ; King was Belphegor 
and Lizzie Pierson the Madeline. 

AUGUSTA L. DARGON, the Irish tragedienne, was the daughter 
of a physician, whose father was General Dargon, a well-known Irish 
patriot. Miss Dargon's mother was Scotch. Augusta came to 
America at an early age, and it was at the suggestion of Horace 
Greeley that she first gave a series of readings. Meeting with some 
success she adopted the stape as a profession. She was fulfilling an 
engagement in Chicago on the night of the great fire, 8th October 
1871, and was the victim of serious injuries, which obliged her to go 
to Paris for treatment, and interrupted her career for a time. Her 
record in America was not a brilliant one. but in Australia she was 
more enthusiastically received. 

LEWIS MORRISON was born in Jamaica, W.I., 4 th September, 
1844. He had scarcely attained his majority when he became an 
officer in the U. S. army, in which he served three years and six 
months. He was one of the forlorn hope of Port Hudson. In 1863 he 
entered the dramatic profession at New Orleans, under Barrett's 
management. He made rapid progress and soon rose to be a recog- 
nized leading man. his work in that capacity being well received at the 
Walnut Street Theatre. He subsequently supported Salvini, playing 
Iago to the Italian's Othello, etc. Since commencing an independent 
starring career some ten years ago this actor has met with consider- 
able success, both artistically as well as financially. His principal 
production has been "Faust." but he has of late years also appeared 
with deserved approbation in revivals of Howell's "Yorick's Love," 
made familiar to us by Lawrence Barrett. Richelieu" was played by Mr. 
Morrison for the first time on 24th September. 1892, at the Queen's 
Theatre. Montreal. He has of late added two new plays to his reper- 

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toire, "The Master of Ceremonies," and "Frederick the Great." 
His second wife is Florence Roberts. The actor first married Rose 
Wood, daughter of Wm. A. Wood, 28th August, 1865. Florence 
Roberts' first husband was Walter Gale, whom she married 15th 
April, 1882. 

THOMAS GRATTAN RIGGS was an exceedingly droll comedian, 
who for many years entertained delightful audiences. He was born 
at Buffalo, N.Y., in 1835, and was best known in vaudeville features 
of Irish parts. He went to Australia in the seventies and played 
there for many years. He died in Tasmania 15th June, 1899. 

GEORGE "L m FOX, probably the most celebrated pantomimist since 
the days of Grimaldi, was born in Boston in 1825. He first appeared 
on the boards in his fifth year at the Trcmont Theatre in a benefit 
performance to Chas. Kean, and in New York in 1850, in the "Demon 
of the Forest." He served in the war and was at Bull Run. Return- 
ing to the stage in July, 1861, he subsequently became manager of the 
old Bowery Theatre. It was at the Olympia in 1867-68 that he made 
his great hit in "Humpty Dumpty." His flight was not high as an 
artist, but within it he was unsurpassed, his humor being a most 
spontaneous and irresistible drollery. He died in Cambridge, Mass., 
24th October, 1877. 

JOHN DILLON (John Daily Marum), born in Ireland, 1831, came 
to America at the age of seventeen. He was early doing stock work 
under Laura Keene and others, and later starred in "The Crucible,'* 
and "State's Attorney." 

During the 1876 season the style was once more changed, 
the theatre being called the Champ de Mars Theatre. Chas. 
L. Howard was the manager. A season of vaudeville ensued, 
and on 17th August, Denman Thompson appeared in the first 
draft of "The Old Homestead," then known as "Joshua Whit- 
comb/' The year following was without interest, and in 
1878, which was the last in the history of the house as a the- 
atre, it became known again as the Dominion Theatre. The 
opening was en 3rd June, with Mile. Lefavre's Burlesque 
Troupe, which continu-ed for a few weeks. Wood and West 
became its managers and lessees 6th August, when the house 
was called Wood and West's Varieties. John B. Sparrow 
was the next, and last recorded, lessee, opening a three weeks' 
season with May Fisk's British Blondes. Capt. Bogardus 
and others also appeared during the short season. The the- 
atre was never a money-maker for its lessees, and at odd 
times during its tw r o last years of existence some of the most 

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objectionable scenes were represented within its walls, of 
which "Bathing in the Nile," and kindred attractions, may be 
remembered as fair specimens of the prevailing taste of our 
play-goers. An interesting diversion of the pit was "toss- 
ing." A boy on a back bench would say, "Toss me," and 
two or three of his companions would pick him up and swing 
him over the head of those in front. The latter, upon whose 
heads he had landed, would forward him with another swing, 
and, finally, he would arrive at the front bench, where he was 
privileged to stay as a reward for the hardships of his flight. 
The building has scarcely changed its appearance during the 
past twenty years, still being in a good state of preservation. 


This structure, which is situated on the east side of Victoria 
street, a few doors above St. Catherine street, was commenced 
early in 1875, the late Mr. Taft being the architect. It has a 
neat exterior, and is built of brick with a stone frontage. The 
interior consists of four boxes, four stalls, two galleries, and 
has a seating capacity of about 2,000. It was erected by a 
company composed of the late Sir Hugh Allan as president; 
Chas. D. Tylee, secretary; Harrison Stephens, Boswell Fisher 
and others. The late Eugene A. McDowell was the first 
manager, and its opening took place on the 15th November, 
1875, with Lester Wallack's military drama, 4i Rosedale," 
McDowell appearing as Col Eliot Gray, and Miss Fanny 
Reeves as Rosa Leigh. Chief in the supporting stock com- 
pany were Mr. and Mrs. Charles Loveday, Jos. Alfred Smith, 
Affie Weaver, Felix J. Morris, Fred. Bryton (then known as 
Fred. O. Smith), Victoria Cameron and Florence Vincent. 
G. B. Greene was the business manager. On the 4th of 
June, 1877, the reins of office passed into the hands of John 
W. Norton, who was in turn succeeded by F. J. Morris & Co. 
in August. William Nannary assumed affairs in December, 
continuing until September, 1878, when Lucien Barnes ven- 
tured his chances. After a very short season he left for parts 
unknown, and it is said that some of his creditors are still 
looking for him. He is now living in Chicago, and reputed to 
be quite wealthy. Barnes' successor was George Wallace, 
the journalist, who met with better success. In 1880 Henry 
Thomas became lessee and manager. He was closel- as- 
sisted by Mrs. Thomas, who continued to conduct the affairs 

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of the theatre after her husband's death in 1893. This clever 
woman faced the ordeal of opposition and business depres- 
sion single-handed, and with success up to the occasion of 
her marriage with Mr. Frank Murphy, when the labors be- 
came divided. The Allan family, who had in time acquired 
all the shares of the theatre, sold the property after the death 
of Henry Thomas, in March, 1894, to David Walker, for 
$60,000. In the first week of January, 1877, during a per- 
formance of "The Naiad Queen,'' the building suddenly 
settled, the top gallery sinking fully five inches. Matters 
grew worse and worse, until March, 1896, when the building 
was officially condemned. The Murphys retired from the 
management and leased the Monument National Auditorium, 
where was produced, week of 16th March, Palmer Cox's 
"Brownies." Since then the work of reconstructing the the- 
atre has been well done, three of the walls having been en- 
tirely rebuilt. Messrs. Sparrow and Jacobs, already lessees 
of the Theatre Royal and Queen's Theatre, assumed control 
of the new Academy, which was reopened 7th September, 
1896, with De Wolf Hopper in "El Capitan.'' Sparrow and 
Jacobs continued together until early in 1898, when, after 
some litigation, Mr. Jacobs retired. W. A. Edwards became 
Mr. Sparrow's representative in 1896. This is the brief out- 
line of the Theatre's twenty-five years' history. 

Following the opening bill of "Rosedale," 15th November. 
1875 (first produced at Wallack's Theatre, New York, 30th 
September, 1863), came " Saratoga/' and Gertrude Kellogg 
appeared, week 22nd, in "Mary Warner.'' The stock com- 
pany appeared in the following pieces successively until the 
end of the year : the Fifth Avenue successes, " Divorce," 
"Pique/' "A'Big Bonanza/' "Saratoga/' and "Under the Gas- 
light''; the Union Square pieces, "The Two Orphans," "The 
Geneva Cross/' and "Rose Michel''; also "Ticket-of-Leave 
Man," "Arrah na Pogtue," "Married Life/' "My Uncle's 
Will," "Turn Him Out," "Cinderella/' and, 14th and 15th 
December, the prima-donna, Clara Fisher, appeared in "The 
Rose of Castile." 

Writing of this period, Felix Morris says: "The opening night 
of the new theatre in Montreal came, and with it a packed house and 
splendid audience. 'Rosedale* was the attraction, and the ver- 
dict was unanimously a great 'go.' My popularity was quickly at 
the full, our receipts were very large, and the harvest never-ending. 

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And yet I had the utmost difficulty in getting my salary. Our 
business manager had a knack of vanishing behind doors and of 
disappearing around corners, and, as for excuses, he was a perfect 
master in the art. My salary was very small considering the posi- 
tion I held and the popularity I enjoyed. I was urged by my fellow 
actors, Frederic Bryton among the number, to insist upon an in- 
crease. This I hesitated to do, for I was happy in the enjoyment 
of my extraordinary popularity, and in the knowledge that my name 
was a household word. Numberless considerations influenced mc 
in my hesitation about asking for adequate compensation, but at 
last I summoned up courage and approached my manager. An 
opportunity to attack him offered at his hotel, and I lured him into 
the smooking-room, which happened to be vacant. He was unsus- 
picious of my motive, and slapped me on the back, and in plea- 
sant tones assured me of his esteem. I hummed and hawed a little, 
and then ejaculated the words, 'Increase my salary!' With a broken, 
disgusted look, and a smothered groan, he sank into a chair like 
a man striken with disease, and actually wept. 'My boy/ said he, 
between sobs, 'after all my kindness, after all I've done for you! 
Why, Felix, I've made you, and this is your gratitude?' I never 
felt so guilty in all my life, and vainly tried to comfort him. The 
scene ended in my being almost as much affected as he was, and 
away I went, loathing myself for having caused his gentle heart 
such pain. On comparing notes with my fellow actors, I found my 
account of the interview was received with the utmost hilarity, and 
that the whole scene was simply a chesnut." 

EUGENE A. MoDOWELLwas a conscientious actor and a pains- 
taking manager, never grumbling at the cost of mounting a play 
properly. He was a favorite with every one, being most affable and 
courteous, and was a staunch friend. He was born at South River. 
New Jersey, in 1845. He went on the stage at an early age and very 
soon became known in theatrical circles as a very promising actor 
and capital stage manager. It was at the outset of his career that 
he was engaged to manage the affairs of Montreal's new temple of 
art as well as to play leading business in the lighter parts of standard 
drama. It has been well said that not only did Mr. McDowell and 
Miss Fanny Reeves capture their audience by their charming acting, 
but that they also became susceptible to each other's charms and from 
making love to each other in fun. it became real, with the result that 
they were married, the event taking place at the church of St. James 
the Apostle, the bride being given away by Sir Hugh Allan, who 
had taken a fancy to the young couple. This event occurred 30th 
January, 1877. on the eve of his lesigning the management of the house, 
after considerable hard work and very little financial success. It 
was not the time of star touring combinations, and although excellent 
performances were given by the stock company the system met with 

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less support from the fickle public. After retiring from the manage- 
ment of the theatre here, Mr. and Mrs. McDowell engaged a com- 
pany of their own and started out on a starring tour. They went 
all over Canada, playing in all the leading cities to good business 
for years, but would lose what they made in Canada in the United 
States. This always worried poor McDowell a great deal, and 
he finally broke down under the strain in 1892, dying of paresis 
at JBloomingdale, 21st February, 1893. Hisi wife and daughter 
survive him. The patrons of the Academy and* Victoria Rifles 
will remember how beautifully he mounted "Our Regiment/' in which 
the late Major Short, R.C.A. took' the leading role, and McDowell 
played the Chaplain in 1889. The entertainment was for the Victoria 
Rifles Armony building fund, and was a financial and artistic success. 
In 1891 Mr. McDowell and his wife last appeared at the Academy, 
•upported by an excellent company. He was in good health and 
spirits then, and he would say, laughingly, to his friends, "Going 
through Canada once more for another fortune." 

FANNY REEVES is a daughter of W. H. Reeves and a niece 
to the great Sims Reeves. She was born in 1852, and first played 
on the stage with her mother and brother at Laura Keene's Theatre 
when still a mere child. Fanny Reeves' father was a prominent 
tenor, at one time with the Seguin Operatic Troupe, who died in 
1859. Her mother, Jane C. Porter, died 24th Dec, 1898, aged 78. 
Her father was Christopher Webster, an English actor. 

Neil Warner opened the year of 1876 on 1st January as Sir 
Giles Overreach in "A New Way to Pay Old Debts," and 
"Robert Macaire," this being his first appearance at the Aca- 
demy. Mr. Warner was engaged by the management for 
leading heavies, and after productions of "Simpson & Co.,'* 
"Pocahontas/' and "The Shaughran," he appeared as Shy- 
lock and Macbeth, when the regular season closed. 

THE YEAR l8/6. 

Productions of "Simpson & Co./' "Pocahontas/' "Caste," 
" Merchant of Venice/' " Shaughran," and " Macbeth/' fol- 
lowed to the end of January, when the season closed until 
17th April, opening with "Uncle Tom's Cabin," first produced 
at the Chatham Street Theatre, New York, 24th August, 
1852. Geo. Kunkel appeared in this Montreal production, 
supported by the regular stock company, consisting of Connie 
Thompson, Carlotta Evelyn, Florence Chippendale (Mrs. 
Neil Warner), Victoria Cameron, Isabel Waldron, and others. 

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Following a series of standard productions came Edwin F. 
Thorne, as D'Artagnan in Dumas' story, 14th June; then Geo. 
F. Rowe in "Brass"; the Yokes Family, consisting of Rosina, 
Victoria, Jessie, Fred and Fawdon, their Montreal debut, 24th 
July, in "Belles of the Kitchen," and "Delicate Ground." 
Isabel Morris, sister of Felix, began nth August in "Lan- 
cers," this being her first appearance here. Joseph Murphy, 
in "Kerry Gow," made his first appearance at this house 14th 
August. The season closed 26th August with "The Shaugh- 
ran.'' Sir Randall Howlarid Roberts was seen in " Don 
Caesar," and "King O'Neil," 13th October. 

THE VOKES FAMILY were all born at London.. Eng. The four 
eldest made their appearance in America in 1868. They subsequently 
became scattered. Fred. M. was born in 1846. Jessie and Victoria 
appeared on the stage at the ages of four and two years respectively. 
Victoria was not only a comedienne and singer, but attempted higher 
walks in her earlier days, when she appeared as Amy Robsart at Drury 
Lane Theatre. Her last appearance as a star in Montreal was 
at the Academy of Music, week 2nd October, 1889. Her tour was not 
a success. She died in London, 2nd of December, 1804. Fawden 
(who was a Vokes by profession only) made his debut at the Lyceum 
Theatre, London, in 1868, in "Humpty Dumpty." Poor Rosina ! 
How well we remember her high spirits, her impetuous laugh and 
that saucy toss of the head. Her husband, Cecil Clay, had been an 
attorney, and after their marriage Rosina retired from the stage, 
but reverses brought her back in 1884, under the management of her 
husband. We shall not soon forget her clever work on the boards 
of the Academy, when so ably supported by our late lamented friend, 
Felix J. Morris. She died of consumption 1st of January, 1894. 

"Her 'art was true to Poll" 

FELIX JAMES MORRIS was born in England, 25th April, 1850, 
and first studied medicine. His father attempted to dissuade the 
boy from going on the stage, but without success, and, after consider- 
able privations after coming to America, was encouraged by J. W. 
Albaugh, where at Albany he was given speaking parts. In 1875 
he came to Montreal, remaining two seasons as a member of the 
Academy stock, and during a part of the third season was joint 
manager and lessee with Neil Warner. Following an engagement with 

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Lotta, he went with Boucicault, and then into the production of the 
stage version of "Michael Strogoff" in Booth's Theatre in the 
metropolis, scoring heavily as one of the comic correspondents. 
Going to London, he made a hit there in "On Change." It was 
following his return from England that he became associated with the 
late Rosina Vokes, in whose company he first became known to the 
general theatre-goer as a player of fine intelligence, considerable ver- 
satility, and a genius for detail that mounted to a positive defect. Miss 
Vokes had not been too successful in her effort to establish herself as a 
star in bills consisting of three pieces in the course of a single evening 
although her vehicles were clever and her company composed of play- 
ers of skill and ability. Morris succeeded Weedon Grossmith in the 
genre-roles of the repertoire. He was co-starred, or, rather, fea- 
tured with Regina Vokes. The scheme of arrangement put him for 
ward as the star of the first play of each evening. The second had 
Miss Vokes in the principal role. The third would give both players 
equal opportunities. Morris gave us some excellent acting during his 
association with the English comedienne. His best work was in the 
roles in short plays permitting of elaborate characterization. His 
picture of the old aristocrat in "A Game of Cards" marked his very 
best achievement. In a character calling for sustained impersonation 
throughout an entire evening, Morris usually grew monotonous; for 
he didn't possess the "voice various/' and his work was generally all 
in one key. After leaving Miss Vokes, Morris tried starring, but the 
venture was quite unsuccessful. He played for a short period in Lon- 
don, and then returned, joining the Daniel Frohman "stock." He 
was a member of the company at the time of his death, although his 
arrangement with the management permitted him to appear in the 
varieties when not wanted for the play in course of presentment. Mr. 
Morris married Mary B. Schoot, who is better known by her stage 
name, Florence Wood. They first met at Halifax and were married 
at San Francisco. The popular comedian died at New York city, 
13th January, 1900, being survived by his widow, a son and two 
daughters, Felice and Mildred. 

8IR RANDAIX H. ROBERTS, actor and dramatist, died 10th 
October, 1899, aged 62. 

E. A. McDowell reopened the house as lessee, with Charles 
Arnold as business manager, on the 13th of December, in a 
benefit performance for the Brooklyn fire sufferers, but it 
closed again and was not reopened until 1st January, 1877. 

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was opened ist January, by "The Naiad Queen," with Clara 
Fisher and the St. Felix Sisters as the principals. It was 
during one of these performances that week that the top gal- 
lery of the theatre sank fully five inches, the building settling 
considerably. " Uncle Tom's Cabin" was produced week of 
8th, with Alice Kemp as Topsy, E. A. McDowell as George 
Harris, and Felix Morris as Marks. O. D. Byron, in "Across 
the Continent/' week 15th, and "The Mystery of Edwin 
Drood," week 22nd, Neil Warner as John Jasper, in W. H. 
Young's dramatization of Dickens' novel. This was fol- 
lowed by a revival of "Rosedale,'' and on 29th Ida Savory 
began an engagement in "As You Like It," "Romeo and 
Juliet/' "Pygmalion and Galatea," and "Led Astray." Dom- 
inick Murray came week 5th February, after which the stock 
appeared in "After Dark," and "Rob Roy." The great event 
of the season, the appearance of the brightest star of them 
all, Lilian Adelaide Neilson, under the management of Max 
Strokosch, in five representations, supported by Neil Warner, 
Eben Plympton, and the regular stock company. The open- 
ing was, 27th February, in "Romeo and Juliet," Miss Neil- 
son as Juliet, Plympton as Romeo, Warner as Mercutio, Felix 
Morris as Benvolio, and Florence Vincent as the Nurse. "As 
You Like It" was given 28th; "Lady of Lyons," ist March; 
"Twelfth Night," 2nd March; and "The Hunchback," 3rd. 
This was Miss Neilson's debut here. Her last appearance 
here was 31st January, 1880. The stock company appeared 
5th March in "The Shaughran," etc., until 12th, when 
"Daniel Druce," with J. B. Studley, under the management of 
Jarrett & Palmer, was produced. George Fawcett Rowe 
came week 19th, in "Little Em'ly," etc., followed, 2nd April, 
by Maffit & Bartholomew's "Robinson Crusoe/' and "Robert 
Macaire." " Uncle Tom's Cabin " was revived week 9th, 
when George Kunkel reappeared. Rose Ey tinge came 16th 
April in "Miss Multon/' and "Love's Sacrifice, ,, supported by 
the Academy stock company. It will be interesting to note 
that it was during this engagement of Miss Eytinge that 
Annie Russell, the clever comedienne, made her first appear- 
ance on the boards. Miss Russell tells the story as follows : 

" I remember very vividly my first appearance. It was when I was 
about ten years old, in Montreal. It wasn't accident — it was g^im 
necessity that led me to make the attempt. My mother saw an ad- 

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vertisement in a newspaper for a little girl, and holding me, a small 
and fragile looking tot, by the hand, she answered it at the stage door 
01 the theatre. It was my first experience with those humble en- 
trances on a side street that I now know so well, and I was awe- 
struck. Fear and trembling filled my small soul. Nor did our re- 
ception allay these feelings. We were told abruptly that I was much 
too little and puny, and my mother and I turned away disheartened. 
Uut we heard that Kose Eytinge was coming to Montreal and wanted a 
child for the play, "Miss Multon." We applied to her advance man, 
and he said 1 might learn the part. I was in the seventh heaven of 
delight at first, and then I settled down to study. Oh, how I studied 
and practiced those lines ! At last came the fateful day when Miss 
Eytinge was to arrive in town, and I was to know whether or not I 
could have the part. I was a very timid little girl, and I looked for- 
ward with terror toward the meeting. When Miss Eytinge saw me, 
shrinking and infantile, she exclaimed in a tone of much annoyance: 

" 'Who ever thought that little thing could play the part ? Get me 
somebody at once — a woman who can play a child's part — anybody.' 

" 'Just let the child repeat the lines, Miss Eytinge/ exclaimed the 
gentleman who said I might try the part- 

" 'Oh, very well, but I know it's useless. Go on, little one/ 

" And then I began to speak the lines that I had conned over until 
I could have said them in my sleep. Miss Eytinge listened atten- 
tively until I had finished, and then exclaimed in a tone of satisfaction 
and relief: 

" 'Why, this little girl will do very nicely indeed.' Thus it was that 
I made my first appearance." 

Annie Russell, was born in Liverpool, England, in 1865. In 
early childhood, however, her parents decided that their fortunes 
would be bettered by migration to Canada, and in 1869 w"ere living in 

John T. Raymond first appeared, week April 24, in "The 
Gilded Age/' and "Col. Sellars." W. H. Lytell was a pro- 
minent figure, 30th April, in "Our Boarding-House," and 
during the following week, which was the last of the regular 
season. He was seen as Passpartout in "Around the World in 
Eighty Days.'' Jehin Prume and Calixa Lavallee, both a 
credit to Montreal as representative musicians, produced their 
musical piece, "Joan of Arc/' week 14th May, followed 21st 
by E. A. Sothern in "Our American Cousin ,, ; "Dundreary's 
Brother Sam/' 22nd; "The Hornet's Nest," 23rd; "David 
Garrick," 24th; "The Crushed Tragedian," 25th, which was 
repeated 26th. John W. Norton reopened the theatre 4th 
Tune with Lotta, supported by C. W. Butler and John Ellsler's 
dramatic club, under the management of Max Strakosch, in 
"Musette," and "Bip." Her first appearance here was at the 
Theatre Royal, 21st August, 1865. H. J. Montague, in "False 
Shame," "Society," etc., came week nth June, and George 
Rignold came week 18th June in a grand production of 


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"Henry V." Kate Claxton came 26th June in "The Two 
Orphans," and "Conscience." Jennie Hughes, in "Love 
Among the Roses," and "Caste," came 2nd July, followed by 
Alice Gates in operatic burlesques. 

This again closed the season, which was reopened by Feiix 
J. Morris & Co. as lessees and managers (Morris & Warner), 
20th August, with a return of George Rignold in "Henry V." 
Miss Isabel Morris was the Kathcrinc; Mr. Orvey as Bar- 
dolplte; Mr. M^eade the Pistol; and Mr. Morris as Fluellen. 
During the week of 28th Mr. Rignold produced "Amos 
Clark,'' "Alme," and subsequently "Romeo and Juliet," he as 
Romeo, and Marie Wainwright, who had been one of his 
Juliets already mentioned, as the Capulet maiden. This was 
Miss Wainwright's debut here. Mr and Mrs. Albaugh came 
3rd September in "Louis XL," and "Victor of Rhc," sup- 
ported by the Leland Opera House Company. On 7th 
"Othello" was produced with Albaugh as Iago, and Neil War- 
ner as the Moor. The engagement closed with "Eustache/' 
Rice's "Evangeline," headed by Eliza Weathersby and Nat 
C. Goodwin, Jun., opened week 10th September. They also 
produced "Le Petit Corsair." Joseph Murphy, in "Kerry 
Gow/' "Help/' etc., was seen week 17th September, followed 
by Neil Warner and Gertrude Kellog in "The New Mag- 
dalen," and in turn by productions of "J /' "The Two Roses," 
"Ticket-of-Leave Man," "Guy Mannering," "The Taming 
of the Shrew," "Pink Dominoes/' "Kathleen Mavourneen," 
"Colleen Bawn," "East Lynne," "Still Waters Run Deep/' 
and 26th November Harvey Bawtree, a well-known elocu- 
tionist, appeared as John Mildmay in a benefit performance 
to Warner, closing the season. William Nannary became the 
next lessee and manager, opening the house 31st December 
with the Anna Granger-Dow English Opera Company, 
which included Joseph Maas, tenor, and W. T. Carleton, 


Mr. Morris writes : — " We supported, during the course of 
the season, George Fawcett Rowe, in his unrivalled per- 
formance of Micawber, and the incomparable Adelaide 
Neilson. We had been waiting about at the theatre for hours 
one day, expecting her arrival. Trains were delayed, and 
it was three o'clock before she put in an appearance. At 

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that hour she bustled on to the stage in travelling ulster 
and soft-crowned hat. She was very tired, and evidently 
out of sorts. She was accompanied by Eben Plympton 
for leading support. 'And this is the great Neilson/ I told 
myself The reverie into which I disappointedly had fallen 
was disturbed by the sound of a gruff voice, accompanied 
by an angry push. ' Clear the stage, you supers/ said 
the voice. 'One moment/ I explained, Tm the super who 
plays Touchstone.' Plympton understood his mistake, and 
made amends by introducing me to Miss Neilson. At night 
what a transformation we witnessed in this remarkable wo- 
man ! As she sailed on she was nothing short of a vision, 
and her performance of Rosalind was a revelation. She was 
very gracious to me; sent for me to come to her dressing- 
room, and complimented me in the most flattering terms on 
my Touchstone. The success of my Shakespearean comedy 
characters I attribute very largely to the kindly interest of 
Mr. T. D. King, of Montreal. He was an enthusiast, and had 
accumulated a valuable Shakespearean library. Together we 
made researches, compared notes, verified certain readings, 
and the results were unusually satisfactory. When Mr. King 
died his valuable collection became the property of McGill 
College. As the season drew to a close, my name was put up 
for a benefit. I was the recipient of a handsome testimonial 
from the company, in the form of Knight's edition of Shake- 
speare, and an overflowing house greeted my appearance. I 
played Bob Sackett in Bronson Howard's ' Saratoga/ A tre- 
mendous call brought me before the curtain, and after a 
shower of bouquets, I was allowed to return thanks, which I 
did in a few carefully prepared remarks. I was somewhat 
disappointed, however, at the reception of my words." 

HENRY J. MONTAGUE (Mann), the idol of the matinee girl, 
was a most pleasing jeune premier, who came to this country from 
England in 1874 to repeat unqualified successes in a limited range of 
parts. He died in San Francisco, nth August, 1878, aged thirty-five. 

C A TJX A IAVAIXEE, after a short but very brilliant career as a 
musician, died 21st January, 1891. 

FBANTZ HENRY JEHIN-PRUME was a noted Belgian violin- 
ist, who, after brilliant achievements in Europe, Mexico, Cuba and 
the United States, settled in Montreal in 1865. He died 29th May, 
l %99t aged sixty-nine. 

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CHARLES ARNOLD was born in Lucerne, his father being 3 
captain in the Swiss Legion, who rendered such good service to the 
British during the Crimean war that the Government rewarded him 
by giving him a grant of land in Canada. Charles Arnold served five 
years in the study of law. His first appearance on the dramatic stage 
was as an amateur, and while playing at Hoboken, N.J., in a bur- 
lesque of "Romeo and Juliet," he was engaged by the manager of 
Mrs. Conway's Brooklyn Theatre. That was in 1875. After remain- 
ing there one season he came to Montreal, Can., and became man- 
ager of the Academy of Music. From here he went to Winnipeg with 
his company — the first which ever appeared in that place. Winnipeg 
at that time was merely a village, principally inhabited by Indians and 
half-hrccds, the English population being very limited. They next 
visited Emerson, the population of which numbered about one thousand, 
and they had never had a theatrical performance before. The "the- 
atre" was an old warehouse full of farming implements and boxes. 
The place had but two exits, one of which was from the platform to the 
prairie, where tents had been rigged up for the company. There was 
not a house nearer than a mile, and, as everybody came on horse- 
back, the outside was like a horse fair. Soap and candle boxes 
formed the back seats, champagne and brandy cases being in front. 
The inhabitants were anxious for the company to remain a second 
night, which they could not do on account of being booked else- 
where, so another performance was given that same night at 11. 15. 
A Canadian political burlesque, " H.M.S. Parliament," written to 
" Pinafore" music, was given. The orchestra consisted of a church 
organ. Mr. Arnold has been all over the world during the last 
twenty years. His "Hans the Boatman" was played for forty-six 
weeks in the English provinces with success. lie made his London 
debut July 4, 1887, at the Grand Theatre, Islington. Having played 
at Terry's Theatre, Strand, London, and met with considerable suc- 
cess, in February, 1888, Mr. Arnold sailed from England for Australia, 
and for a season of ten months made a tour of the colonies. After 
visiting Adelaide he went to New Zealand. He seldom acted in 
a theatre, but appeared in halls and drill sheds. No orchestra ofr 
any description could be had in any of these towns, and the only 
music was a violin solo by the leader that he carried with him, Mr. 
Arnold having to sing his songs as Hans to a single violin accom- 
paniment. After a brief stay in England Mr. Arnold came to 
America for a three years' tour. He is now playing in Australia. 

JOHN B. STUDLEY was born in Boston, Mass., in 1831. He 
first appeared on the professional stage in 1848 at Columbia, S. C. 
He became leading man at the National Theatre, Boston, 1853-54. 
and subsequently starred with Sallie St. Clair through the South and 
West, later supporting Charlotte Cushman. An able critic wrote of 

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him during a Bowery Theatre engagement: "I may remark that I 
have seen an actor of leading business, who is not only one of the 
best performers in New York, but could not be easily surpassed in 
London." Mr. Studley was last seen in Montreal as a star at the 
Theatre Royal in "A Great Wrong/' week of 20th February, 1888. 

EBEN PLYMPTON, one of the most talented men on the stage, 
has long been known as a capable leading man. He was bom in 
Boston in 1853, and began his stage career at an early age. He 
has supported all the great contemporary stars, including Booth, 
Barrett, Neilson and Mary Anderson. His best work has been 
done in the Shakespearean drama, in which he has shown an artistic 
and intelligent conception of the great roles, in which he has so ably 
supported the most famous actors. 

ROSE EYTINGE has experienced a most eventful career, and her 
beauty and talents begot her crowds of admirers. She was born in 
Philadelphia in 1835, and at the age of 17 made her first appearance 
at a Brooklyn theatre. In 1855 she married Mr. David Barnes, from 
whom she was subsequently divorced, and in 1868 married Geo. H. 
Butler, nephew of General Butler, and went with him to Egypt. She 
obtained a divorce from him before his death, and afterwards played 
successfully in England and America. John T. Raymond subse- 
quently married her daughter, Miss Barnes. 

JOHN T. RAYMOND, whose real name was O'Brien, was born 
in Buffalo, April 5, 1836, and made his debut June 27, 1853, in 
Rochester, N. Y., as Lopes in "The Honeymoon." His first appear- 
ance in England was made in July, 1867, at the Haymarketi London, 
as Asa Trenchard. His best known characters — which indeed 
were world-wide — were Fresh, the American and Colonel Sellars. 
Mr. Raymond was a great favorite in Montreal and was billed to 
appear at the Academy of Music the week following his death, 
which occurred 27th April, 1887, at Evansville, Ind., and the message 
was speeding over the wires that was to bring anguish worse than 
death to a young widow and her little one. and tears of sympathy 
to the eyes of hundreds of thousands, whom in his lifetime the 
dead actor had helped to make happy. Raymond divided with 
W. J. Florence the honor of being the first comedian in America. 
His sunny nature was to the people as an open book. They 
laughed with him in his spontaneous flights of humor; they 
wept with him in scenes of pathos. He played upon their emotions 
with a master hand and touched at will the springs that govern 
men's sympathies. Every play-goer entertains feelings of respect and 
admiration for a great tragedian like Booth or Keene, but the 
comedian is closer to our daily life. He becomes like one of our- 
selves, and the more we see of him the more we learn to love him. 

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So it was with Raymond. Raymond, Florence and Sothern mad; 
up a trio of practical jokers who earned a reputation. Raymond 
was fond of "matching" for anything, from pennies up to hundreds 
of dollars. Once in the California Theatre he and John McCullough 
matched for the house receipts and McCullogh won. On another 
occasion when he wanted to go to Europe the habit was so strong 
on him that he went into a steamship office and offered to match 
for the passage ticket. Mr. Raymond was twice married. His 
first wife was Mary Gordon, of Baltimore, a very beautiful woman, 
whom he married in 1868. He was divorced from her in 1880. His 
second wife was Rose Courtney Barnes, the daughter of Rose 
Kytinge and David Barnes. They were married April 11, 1881. 
and enjoyed a very happy life together. Mr. Raymond was of a. very 
domestic nature and fairly idolized his only child, a boy then four 
years old. His marriage to Miss Barnes was two days before he had 
legally changed his name to Raymond. It was a very strange coin- 
cidence that he should have followed his future mother-in-law's 
engagement at Montreal the following week and that the sketches of 
both should now follow so closely. The original manuscript of the 
play in which John T. Raymond made his mark as Colonel Scllars 
was at one time stolen, and, in spite of the actor's efforts to get it 
back, remained out of his possession for months. When it was finally 
restored to Mr. Raymond, it came mysteriously, with the following 
note : 

" Dcre Col i send you bak your play i seen you on the theatre and i see 
you are in want all the time, so i send you bak the play and i wish you 
luk for 1 dont want to take no poor mans property." 

The thief had evidently been so impressed by Mr. Raymond's 
acting of Sellars that he took him seriously. 

GEORGE RIGNOLD first attracted notice on the London stage 
by praiseworthy work in 1870, and was for several years closely 
connected with the Bath and Bristol Theatres. During 1872 he 
sustained the part of Posthunus in "Cymbeline" ; of Iciliuis in "Vir- 
ginius," and several other efforts. He twice visited America and on 
one occasion played Romeo to six Juliets at Booth's Theatre, New 
York, 31st May, 1877. These were Fanny Davenport, Ada Dyas, 
Maud Granger, Marie Wainwright, Minnie Cummings, and Grace 
d'Urfey. He is at this writing in Australia, which country now 
claims him as her own. 

KATE CLAXTON was the daughter of Col. Spencer W. Cone, 
whose father had been a clergyman. Miss Claxton first appeared 
on the stage at Chicago, but made her regular debut at Daly's, where, 
after playing minor roles, she first made a great hit in "Led Astray/' 
5th December, 1873, as Mathilde, and renewed her success subsequently 
as Louise in "The Two Orphans," and it was while performing that 

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part at the Brooklyn Theatre, 5th December, 1876, that it took fire, 
and, out of an audience of 1,000, 291 lost their lives, including two 
actors, H.S. Murdoch and Claude Burroughs. This sad event gave 
her a great advertisement. She was twice married, first to Isidore 
Lyons, from whom she was divorced, and in 1878 married Charles 
A. Stevenson. Her latest efforts have been jointly associated with 
Mad. Janauschek in a revival of "The Two Orphans." As an 
actress she displays little variety or powet from the characters with 
which accident has fitted her. 

MA RTF, WAINWRIGHT is the granddaughter of Bishop Wain- 
wright of the Protestant Episcopal Church and the daughter of 
Commodore J. M. Wainwright, who was killed during the Rebellion. She 
is a native of Philadelphia, where she was born May 8, 1855, and was 
educated at a convent just outside of Paris, Fr- A reverse of fortune, 
I believe, was directly responsible for turning her thoughts to the 
stage. She had the advantage of Fanny Morant's professional counsel, 
and it was largely through that actress's efforts that Miss Wainwright 
was enabled to make her debut as one of the Juliets who played for the 
benefit of George Rignold at Booth's Theatre, May 31, 1877. Her 
success on that notable occasion brought her into prominence, and 
her path was thenceforth a comparatively smooth one. The following 
season she joined the stock of the Boston Museum. There she was 
the original Josephine in the first American performance of " Pina- 
fore." She was quite as successful in that opera as she had been in 
Juliet's robes. Eventually she, with Louis James, went to join Law- 
rence Barrett as his leading support. Her excellent work with Mr. 
Barrett need not now be recalled. She was with him five years, 
and then, the situation seeming ripe, she made her first formal venture 
as a star, acting jointly with Mr. James. This was at the opening of 
the season of 1886-87. Miss Wainwright has been thrice married. Her 
first husband was Henry W. Slaughter, an actor, who died in Aus- 
tralia. In August, 1879, she was wedded to Mr. James, with whom 
she appeared in Montreal in 1886 as a joint star. Three years later 
they separated. Miss Wainwright then made a starring feature of 
Viola in "Twelfth Night," etc. In 1899 she married Franklyn Roberts, 
who had been her leading man the season before in "Shall We For- 
give Her?" 

ELIZA WEATHERSBY (Mrs. N.C. Goodwin, jun. ) was a native 
of London, Eng., and was born in 1846. Her family name was Smith, 
Her professional career began at the Alexandria theatre, Brantford, 
during the sixties, and before coming to America she was for two 
seasons at the Strand Theatre, where she made her London debut. 
She arrived in New York, April 28, 1869, to join the Elise Holt Bur- 
lesque Troupe, with which, on May 12. she made her American debut 
at the Chestnut Street Theatre, Philadelphia, in burlesque, but with- 

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out attracting marked attention. The Holt Troupe disbanded in the 
following June, and Miss Weathersby joined the Lydia Thompson 
Troupe, with which, at Niblo's Garden, June 14, 1869, she made her 
metropolitan debut, playing Hafis in "Sinbad the Sailor," and soon 
becoming prominent by assuming the title role in the place of 
Miss Thompson, who was ill. Col. T. Allston Brown organized 
a rival party, called the British Blondes, in which were Miss Weathers- 
by, the late Harry Beckett and other seceders from the Thompson 
Troupe. Maguire brought them out in San Francisco ahead of 
Lydia Thompson's artists, and for a time there was strong rivalry. 
The business of both troupes was affected, but the British Blondes 
had to quit the field first. On Nov. 14 Miss Weathersby rejoined the 
Thompson Troupe. On June 24, 1877, she was wedded to N. C 
Goodwin, jun. They last appeared with the "Evangeline" party, Nov. 
10, 1877, in Chicago, and on Dec. 24 following the twain began 
their first professional engagement together on the joint stock basis, 
appearing in 'Pippins" at the Globe Theatre, Boston. In the follow- 
ing January, they organized the Weathersby-Goodwin Froliques, 
which started out Feb. 4, 1878, and in one form or another, presenting 
'Cruets," "Hobbies," "The Ramblers," "Those Bells," "A Member 
from Slocum" and "Warranted," kept the road for several years, 
Jennie and Ernie Weathersby being of the company. Ernie died in 
1884. Eliza last appeared on the stage about 1884, and died at New 
York 24th March 1887. 

NATHANIEL C. GOODWIN, JR., is one of our best comedians. 
He was born in Boston in 1857. In 1876 he went to New York at 
a salary of $50 a week, which was soon advanced to $500. His imita- 
tions were the craze of the city, and he played several successful 
engagements. His career from that time was associated with Miss 
Weathersby, and fully noted in her sketch. After her death he went 
back to legitimate comedy, in which line he is still catering to a 
delighted public, his most successful productions of recent date 
being, "An American Citizen," and "When we were Twenty-One." 
Goodwin has been thrice married, his present wife being the charm- 
ing Maxine Elliott, to whom he was wedded in 1898. 

LIUAN ADELAIDE NEILSON. The greatest representative of 
Shakespeare's heroines of this century is remembered as a shooting 
meteor, a creature of goodness and beauty, possessing the rare 
combination of imaginative power, dramatic fire, emotion, tender- 
ness and grace. Her voice was musical and impressive capable 
of great modulation, with a most artistic command of what may 
be called the material of elocution — the inflections. The actress's 
story is one of early hardship and sorrow. Lizzie Ann Browne 

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was rorn out of wedlock at 35 St. Peters Square, Leeds, Yorkshire, 
England, 3rd March, 1846. She did not have Spanish or gipsy blood 
in her veins as was claimed, but was the daughter of Miss Browne, 
an obscure actress, who subsequently became Mrs. Bland. Her father's 
name is not revealed. As a child she lived at Skipton and later 
in the village of Guiseley near Leeds, where she afterwards worked in a 
factory. She had attended the parochial school, and her teacher, 
Mr. Frizell, remembers her as an earnest and studious pupil, possess- 
ing a great memory with an unusual talent or recitation. Her early 
pastime was in studying the chief feminine characters she was des- 
tined to portray. When fourteen years of age she accidentally 
discovered the secret of her birth. There never had been sym- 
pathy between mother and child, and becoming discontented with 
her lot, Lizzie, by one account, went to service for a long time, 
eventually becoming a member of a strolling company. Accounts 
of her early life differ, and Colonel Brown says that when twelve 
years of age "she coaxed her old uncle to let her ride in the mar- 
ket wagon that was going to London. When the old gentle- 
man had crossed London Bridge Lizzie could not be found, and 
her parents heard nothing more of her for five years, when they 
discovered her to be Adelaide Neilson. Only five years had passed 
between the time that the barefooted country girl, who spoke with 
a strong Yorkshire accent, had dropped from the back of the cart 
and the time when she appeared as Juliet" Her earliest stage 
experience is said to have been at Margate, Eng., at the Theatre 
Royal in her fifteenth year, as Julia in 'The Hunchback.'* Her first 
stage name was Lilian Adelaide Lessont, which she soon changed to 
Neilson. Her London debut was in July, 1865, at the New Royalty 
Theatre as Juliet, without attracting attention, but she persisted, and 
her first genuine success was when she played Victorine at the Adelphi 
Theatre in November, 1866. In that year she married Philip Henry 
Lee. the son of a clergyman of Stoke Bruerne, who accompanied her 
on her first visit to America in 1872. They were divorced in 1877. 
He died 29th October, 1886. On 18th November, .1872, she opened 
at Booth's Theatre, New York, as Juliet. The critics generally agreed 
that her Juliet was the best that had graced the New York stage for 
many years, and her success was assured. During the ensuing tour 
of the United States and Canada, her reoertoire, in addition to Juliet, 
included Beatrice, Pauline, Lady Teazle, Julia, Isabella in "Measure for 
Measure." and Viola. In May, 1873, Miss Neilson made her first 
appearance in this country as Amy Robsart, having first appeared 
in that character at the Drury Lane Theatre of London in 1870. 
In April, 1875, she began a long engagement at Booth's Theatre. 
New York, with a remarkably successful run of "Amy Robsart." 
Her last season in America was in the autumn and winter of 1879 
and spring and summer of 1880. Her tour proved an ovation from 

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start to finish. Her farewell to New York was 24th May, 1880, at 
Booth's Theatre. In the course of an address before the curtain 
the actress said: " It seems to me that I am not only leaving friends, but 
happiness itself ; that the skies can never again be as bright as they haz e 
been to me here, nor flowers bloom so beautifully, nor music sound so sweet 
any more" Her last appearance on the stage was at Baldwin's Theatre, 
San Francisco, 17th July, 1880, when she acted Juliet in the balcony 
scene of "Romeo and Juliet" and "Amy Robsart" She had been 
playing there from June 8. Returning to New York, she sailed 
for Europe July 28. In eighteen days she was dead. Miss Neilson 
suffered from dyspepsia, combined with neuralgia of the stomach. 
Any undue excitement or mental depression was favorable to the 
attacks. During the violent recurrence of pain after drinking a glass 
of iced miik in the Bois de Boulogne she fell into a state of syncope, 
and died while in that condition in Paris, August 15, 1880. She 
passed from the world with all the radiance of her glory about her 
like sunset from a mountain peak that vanishes at once into the 
heavens. She was buried in Brompton cemetery, London, where a 
white marble cross marks the grave, inscribed with the words : 
"Gifted and Beautiful — Resting." 


was opened 7th January by Alfred Dampier and May How- 
ard in "Battling for Life," and "The Lyons' Courier." "Lon- 
don Assurance," "New Magdalen/* and "Baby/' followed un- 
til 4th February, when Dominick Murray came. Frederic 
Robinson was seen, week nth, in "The Fool's Revenge, " 
"Not Guilty," and "Dora.'' Alice Dunning and William 
Horace Lingard, at the head of their own company, came 
25th February in "Heart and Crown." The stock company 
then produced "Pink Dominoes," and on nth March, for Mr. 
Nannary's benefit, was presented "Led Astray.'' Mr. and 
Miss Morris benefited 27th March in 'Tom Cob/' making 
this their farewell appearance. On 29th April a company 
from Wallack's Theatre, headed by Charlotte Thompson, ap- 
peared in "Jane Eyre," "Miss Multon," followed by the re- 
engagenrent of Eliza Weathersby and N. C. Goodwin, Jun., 
in "Hobbies." 6th May. Butler's "Jack and Jill" Pantomine 
Company came nth, and on 13th our local artists, Prume 
and Lavallee, presented M. Ilassian in "La Dame Blanche." 
The Union Square Theatre Company came 22nd, and played 
in repertoire for four nights. On 10th June a French com- 
pany came up town from the Theatre Royal and played dur- 

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ing a short season. lima Di Murska, the Hungarian artist, 
came 9th August for two nights at the head of a concert 
company, as also did Clara L. Kellogg and Annie L. Cary 
for one night, 30th September. Di Murska died at Munich, 
18th January, 1889. Louden Barnes, at one time manager of 
the Theatre Royal (1878), and having the reputation of being 
a most skilful and successful manager, next tried his fortune 
as lessee of the Academy, the fortunes of which had been at 
a very low «bb from the earliest times of its history. The 
opening of the new season was 25th September, when Fanny 
Davenport, supported by F. F. Mackay, appeared in "Olivia,'' 
she in the title role and Mr. Mackay as the Vicar. This was 
her Montreal debut. Thorne and Chrisdi's "J ac ^ an ^ Jill" fol- 
lowed; then came Helen Blythe and Joseph B. Brien in 
"Romeo and Juliet," "Ingomar," "Camille," and "The Lady 
of Lyons." "Magia, the Water Queen," was next seen, fol- 
lowed by productions of " Uncle Tom/' Stetson's "Evan- 
geline," "Babes in the Wood," Marie Roze Mapleson in oper- 
atic concert, August, Wilhelmj and Carreno in concert, 
and Blind Tom. Mr. and Mrs. McDowell came 23rd 
December in "Beauty and the Beast,'* and on 31st De- 
cember, for eight nights, came Frederick Warde and Maurice 
Barrymore in a grand production of "Diplomacy." 

MR. AND MRS. LINGARD Alice Dunning Lingard was the 
first artificial blonde to visit America, Srje was a beautiful woman, 
and the yellow hair, tied with blue ribbons, that hung on her shoulders 
always created a sensation along Broadway in those somewhat remote 
days. She was followed soon by Lydia Thompson and her canaries, 
and then the novelty wore off. She was born in London in i#47, and 
her debut was made there at the Grecian Theatre, after which she 
appeared as a music hall singer, and then in burlesque. Having won 
fame for herself at home, Miss Dunning came abroad in 1868 to 
garner the more substantial reward all artists crave, making her 
American debut at the Brooklyn Academy of Music as the Widow 
White in "Mr. and Mrs. Peter White." She married William Horace 
Lingard, at whose Broadway Theatre she became a favorite. Later 
Mr. and Mrs. Lingard made a tour of the globe in "Ixion" and other 
burlesques. They ended their tour around the world richly rewarded 
for the perils they had braved and the inconveniences they had suf- 
fered. Returning to America, 22nd March, 1880, they toured through 
the principal cities of the United States and Canada. Mrs. Lingard 
became at length leading lady of a San Francisco Stock Company. 
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role of Cyprienne in Sardou's "Divorcons," playing also Frou-Frou 
and Camille. Later she appeared occasionally in melodrama at Drury 
Lane Theatre, London. She was a woman of extraordinary physical 
beauty, which constituted a charm so potent that her audiences over- 
looked her meagre ability as an actress- She died in London, where 
she had resided in retirement for some years, 25th June, 1897. 

FREDERICK BARHAM WARDE, one of our prominent tra- 
gedians, was born in the small village of Wardington, in Oxfordshire, 
February 23, 1851. His father was the schoolmaster of the village 
and died when Frederick was quite a child. His family removing 
to London, young Warde was educated in the City of London School, 
a large public institution founded by Edward VI., and at the age 
of fourteen, choosing the law as a profession, the lad was articled 
to a firm of attorneys in London for five years, as required by the 
legal practice there. After having served three years of his allotted 
term, he became dissatisfied with his prospects as a lawyer, and, ob- 
taining an engagement through a friend from a dramatic agent, made 
his first appearance on the stage in the part of the Second Murderer 
in "Macbeth," at the Lyceum Theatre, Sunderland, September 4, 1867. 
After an extensive experience in both cities and provinces he left 
England and came to this country, making his American debut August 
10, 1874, at Booth'sTheatre as Caft. Pike in "Belle Lamar." He 
remained in the stock of that house several seasons, and toured in 
the support of various prominent stars. For several years he has 
starred on his own account, visiting all sections of the country. Warde 
starred jointly with Louis James for two seasons, and in 1896-97 
made a feature of "King Lear." 

MAURICE BARRYMORE. who is easily in the first flight of 
leading men of the present day, was born in Calcutta, India, in 1854. 
He took his degree at Cambridge University, and studied for the 
Indian Civil Service. He gave up the idea of going to India, and was 
called to the bar, but gave up the law for the stage. He has been 
on the American stage since 1874. He wrote "Nadjesda" for Mod- 
jeska. and the libretto for the comic opera, "The Robber of the Rhine/' 
In 1876 he married Georgie Drew, who died 2nd July, 1893, leaving 
two children, Lionel and Ethel, both of whom are on the stage. 
Ethel was born in August. 1879, and first appeared as a member of 
John Drew's company. The actor married Mary Floyd in 1894. 
Maurice Barrymore. or rather Herbert Blythe, for that is his real 
name, has appeared in a long list of plays, and has been several times 
seen in Montreal in support of Lily Langtry, Mrs. John Drew and 
Olga Nethersole. His work in "Captain Swift" was very commend- 
able. His career in England, were he was the hero of a number of 
personal encounters, added to his very brilliant success on the stage 
He fell in with a dramatic writer of some prominence, became a 

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famous athlete, finally winning the middleweight championship of 
boxing at Oxford, and wound up with a more or less sensational 
tour of this country, which was brought to a close by a desparate 
assault upon an actor in Texas, in which Barrymore, at the risk of 
his life, apprehended the murderer. There were many episodes in 
his early career on the stage which lifted him above the ordinary 
rank of humdrum humanity. His clever daughter, Ethel, promises 
to become as popular a star as was her gifted father. Poor Barry- 
more is now ending his career in illness and distress. 

FANNY DAVENPORT was the daughter of the eminent actor 
whose name she bore, and was born in London, 1st April, 1849. Her 
first appearance on the stage was 4th July, 1858, at Boston. She 
began her career by waving the "Star Spangled Banner/' Although 
a successful interpreter of Shakespeare's heroines, Miss Davenport 
had been mostly distinguished as an interpreter of Sardou's 
queens of tragedy, her Fedora, Cleopatra, Tesca and Gistnonda 
having been most prominently before the public in late years 
She was an actress of considerable emotional power, the result 
of certain natural gifts of passion trained to usefulness by her ex- 
tensive experience of the possibilities of the stage, but her acting 
lacked delicacy, without a compensating spontaneity of human 
fire ; hence her success in Sardou over Shakespeare. After 
her divorce from her first manager, Edwin H. Price, 8th 
June, 1888, whom she first married in 1879, she married her leading 
man, Melbourne McDowell, in 1889, a brother to the former lessee of 
the Academy here. Melbourne may be remembered as a ticket-seller 
at the box office. His is a case where physique has done much to 
make an actor. Miss Davenport again visited Montreal week of 4th 
January, 1892, in Sardou's "Cleopatra," a production to be long 
remembered as powerfully magnificent from a scenic as well as artistic 
point of view. Her last appearance here was at the Academy of 
Music, week of 15th November, 1897, in "The Saint and the Fool." 
Fanny Davenport's career was eminently that of a successful artist, 
which must be attributed in no small part to the fact that she was 
not only a good actress but a good business woman. Miss Davenport 
was one of the best paying stars in the country. It is said that in 
one season she cleared $90,000 from "La Tosca." Miss Davenport 
died 26th Sept., 1898. 

ALFRED DAMPIER, an English actor of ability, came to this 
country, with his daughters Rose and Lily, making his debift at the 
California Theatre, San Francisco, 12th Nov., 1877. His first New 
York appearance was 28th Jan., 1878. For many years his labors 
have been in Australia. 

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THE YEAR 1879 

was opened by the Martinez Opera Company, 13th January, 
for one week. Genevieve Ward came, 20th, for two nights in 
"H<mry VIII.," and "Jane Shore.' , Following Miss Ward 
came the Lilliputian Opera Company in "Jack the Giant 
Kilber," 30th, for three nights, and on the 3rd and 5th Feb- 
ruary Herman Linde was announced as "the greatest living 
tragedian," in readings from "Macbeth/' — "A towering giant 
among a company of forests" — Boston Gazette. The Union 
Square Company came, nth, in "Mother and Son''; then suc- 
cessively Italian Opera; G. F. Rowe, supported by McDow- 
ell's Company, in "Little Em'ly," and "Brass"; Salsbury's 
Troubadours, with Nellie M 'Henry (first appearance here) ; 
"Pinafore.'' Mr. Rowe returned 28th April, in farewell per- 
formances to Canada in "Brass." The notable feature of the 
season was tire first appearance here of Mary Anderson, sup- 
ported by John W. Norton, week 13th May, in "Ingomar/' 
"Evadne," "Romeo and Juliet/' "The Hunchback/' and "The 
Lady of Lyons." Maggie Mitchell came 27th May, opening 
in "Fanchon," playing a week's repertoire. Tony Pastor and 
"Pinafore" preceded the reappearance of Miss Mary Ander- 
son, 16th September, supported by Milnes Levick and Atkins 
Lawrence, in a week of repertoire, followed by Joseph Mur- 
phy in "Shaun Rhue," and, on 20th, by the Weathersby- 
Goodwin Company in "Hobbies." Mr. and Mrs. Majeroni 
came 6th October in "Camille/' "Diplomacy," etc.; "Our 
Daughters/' by the N. Y. Criterion Company, 20th; and on 
10th November the first appearance here of the prima-donna, 
Emma Abbott, in " Paul and Virginia," etc. Daniel E. 
Bandmann, supported by Miss Benison, mad^e his first appear- 
ance 17th November, opening in his great role of Hamlet, fol- 
lowing in " Merchant of Venice," " Narcisse," " Othello/' 
"Macbeth/' "Richard III.," and "The Lady of Lyons." Then 
came '.'Pinafore/' "Uncle Tom's Cabin/' and, on 22nd De- 
cember, the Standard Opera Company in "Fatinitza," etc. 

MART ANDERSON-NAVARRO was born at Sacramento, 
California, 28th July, 1859, shortly before the outbreak of the Civil 
war. Her father, Charles Joseph Anderson, died three years later in 

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his 29th year fighting under the Confederate flag before Mobile on 
the Gulf of Mexico. Her mother, Marie Antoinette Lengers, was 
a native of Philadelphia. Mary was brought up at Louisville, Ky., 
where her stepfather practiced medicine. Her dramatic taste de- 
veloped in her early childhood. When she was about thirteen she 
saw Booth in "Richard III," and her imagination was instantly fired. 
Three years later she made her debut at Louisville. She acted all 
over the States and Canada, and also met with success in Great Britain 
in the roles of Juliet, Parihenia, Pauline and Galatea, during her en- 
gagements at the Lyceum in 1884-85. In 1889 she returned to Am- 
erica, but her health broke down. She went to England.where she has 
since lived in retirement. She married Antonio Ferdinand Navarro 
de Viana 17th June, 1890. Her brother Joseph is married to Anna 
Gertrude Barrett, daughter of the late Lawrence Barrett. 

EMMA ABBOTT was born in Chicago in 1850; her father was a 
professor of music. She was taken an interest in by a church con- 
gregation, and through the kind offices of Mr. and Mrs. Lake in 1872 
was sent to Europe to study. She subsequently married Mr. We- 
therell, and after returning to America in 1879 formed an opera 
company which up to the time of her death proved a genuine success. 
Emma Abbott died in Salt Lake city, January 5, 1891. She was last 
heard in Montreal, week of 14th April, 1890. 

MARGARET JULIA MITCHEIX. No actress on the American 
stage was more widely known than this lady before her retirement. 
Born in New York in 1832, she appeared as a mere tot at the old 
Bowery and from the humble station of ballet girl made her way to 
public favor. In 1868 she married Henry Paddock, who became her 
very efficient manager, but from whom she was divorced, and married 
Charles Abbott, the former husband of Nellie Taylor. Happy in her 
domestic relations as she has been prosperous in her professional 
ones, this lady now wears the crown of a life of honorable labor 
without a thorn to mar its enjoyment. Her mission was to make the 
masses happy, and our lives are much as we try to make them. No 
fortune was ever won with greater credit or more deserved than 

ITBTjTjTE M*HENRY had been on the stage a year or two before 
she joined the original Salsbury's Troubadors, but it was as the bright 
particular star of that organization that she became a prominent 
public favorite, now about fifteen years ago. Miss M'Henry is still 
before the public and as popular as ever. In private life she is Mrs. 
John Webster, and has a son, Jack,who is also a member of the pro- 
fession. John Webster disappeared in Nov., 1899. It is supposed 
that he went over the falls of Niagara. 

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DANIEL EDWARD BANDMANN was born in that beautiful Hes- 
sian city, Cassel, 1st November, 1839. He came to America for the 
first time when but a lad, and first appeared on the stage as a member 
of a company of German amateurs at Turn Hall. New York. Return- 
ing to his fatherland he entered the dramatic profession at the age 
of eighteen, making his professional debut at the Court Theatre of 
New Strelitz. He early attracted the attention of the great Duchess 
of Mecklenburg, who took him under her protection. A series of 
brilliant and rapid successes in various towns in Germany and Prus- 
sia and in Vienna, chiefly in Shakespearean work, established for 
him a very flattering reputation. Subsequently coming to America, 
Mr. Bandmann acted for the first time in English, 15th January, 1863. 
at Niblo's Garden, New York, where he created a very favorable im- 
pression as Shylock. His Hamlet also attracted considerable attention, 
he introducing much business that was new here, but well known in 
his fatherland, bringing his Ghost from beneath the stage, introducing 
a manuscript copy of the speeches of the actors in the play scene, and 
turning its leaves back and forth in a nervous way to hide the ner- 
vousness of Hamlet. This was subsequently noticed in the perform- 
ances of Fechter. Bandmann also drew from his pouch tablets upon 
which he set down the some "dozen or sixteen lines" to be introduced 
by the First Actor in the incident of the murder of Gonsago, and at 
the end of the scene he fell back into the arms of Horatio in a state 
of complete collapse. His acting throughout was effective and 
powerful. On September 1, 1863, was presented for the first time in 
New York, John Guido Methua's adaptation from the German of 
Brachvogel, entitled "Narcisse ; or, The Last of the Pompadours." 
Mr. Bandmann was first married to Anne Herschel, of Davenport. 
Iowa, 22nd June, 1865. So great was his success that he made a five 
years' tour through the country, acting Hamlet, Shylock, Othello, Iago, 
Gloster t Macbeth, Benedick and Narcisse. At Philadelphia, where his 
tragic powers attracted the attention of Edwin Forrest, he was select- 
ed to play "Hamlet" at the commemorative celebration of the 
tercentenary birthday of Shakespeare. He performed the part 
at San Francisco during a run of the play, which lasted a month. 
He then crossed to London, when he made his first appearance 
on the British stage at the Lyceum Theatre, 17th February, 1868, 
in "Narcisse." Miss Millicent Palmer, who had just previously 
scored a great hit as Juliet, was engaged to appear in "Narcisse," 
and in February, 1869, she became Mrs. Bandmann. The 
newly married couple, uniting business with pleasure, went for 
their honeymoon to the antipodes, where (at Melbourne), appropri- 
ately enough, the bride made her debut as Juliet. At Melbourne, 
Sydney, Adelaide and other places Mr. and Mrs. Bandmann were 
received with immense favor, winning golden opinions from all 

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classes of play-goers. We find Mrs. Bandmann's name chiefly as- 
sociated there with Ophelia, Juliet, Beatrice, Paultne, Rosalind, Desdemona, 
etc. Returning the pair made their appearance and were abidingly 
successful in New Zealand, and at Honolulu in the Sandwich Islands. 
There they gave two state performances by command and in the 
presence of King Kameamea and his court- Mr. and Mrs. Band- 
mann subsequently played in the different cities and towns of America, 
including Salt Lake City, where they made the acquaintance of and 
acted before the late Brigham Young. They returned to London in 
the summer of 1872, and reappeared in London at the Queen's in 
"Narcisse." In the following spring they acted at the Princess in 
"Hamlet," "Merchant of Venice" and Macbeth," Mrs. Bandmann 
making her first appearance as Lady Macbeth. Returning to America, 
they starred through the principal cities of the United States and 
Canada. About this time they separated as artists, and also as man 
and wife. Mrs. Bandmann has since lived in England with her son 
and daughter, and in 1896 made her 150th appearance in the character 
of Hamlet. After a long engagement at the Baldwin Theatre, San 
Francisco, Mr. Bandmann undertook another eastern tour, which 
lasted three years and a half, returning to America in January, 1884. 
He was supported by Louise Beaudet. The tour in the far east was 
in every way a remarkable one. Opening at Sydney, he travelled 
through Australia, New Zealand, Tasmania, India, China, the Malay 
peninsula, and back again through India, Australia, the Hawaiian 
Islands to San Francisco, the whole covering 70,000 miles. Received 
on friendly terms by governors-general and their ladies, making 
everywhere a host of friends, the journey reads more like a romance 
than a citation of facts. At Calcultta he played Othello and Shylock 
before an audience of 3,000 natives. Mr. Bandmann, on his return, 
began touring through the principal cities of America at popular 
prices. Whatever may have induced him to appear under the auspices 
of dime museums, this may be safely affirmed, that he did as much 
to extend the influence of Shakespearean literature as the most 
cultured critic or the highest priced actor. In addressing a turbulent 
top gallery at the Theatre Royal, Montreal, on 14th February, 1885, 
during a performance of "Othello," Mr. Bandmann pointedly put it 
when he said: "/ am not here for your filthy lucre, but to educate you— 
to bring Shakespeare before you." In 1888 Mr. Bandmann appeared as 
Dr. Jekyl and Mr. Hyde, in London, England, but the production was 
not a success. He then produced "Austerlitz" at Niblo's, New York, 
and shortly afterwards retired to his cattle ranch at Missoula, Montana. 
In May, 1892, he married Mary Kelly, a California actress. His 
favorite role is Hamlet, which he played so well as to rank as one 
of the great Hamlets. 


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presented Kate Girard in Elliott Dawson s "Prejudice." 
Adelaide Neilson, supported by Messrs. Compton, Frank 
Sanger, H. A. Weaver, Mrs. Tannahill and Nellie Morant, 
played a series of farewell performances commencing 26th 
January, in "Romeo and Juliet"; "Twelfth Night/' 27th; "As 
You Like It," 28th; "Lady of Lyons," 29th; "Twelfth Night/' 
30th; and "The Hunchback," 31st, this being her last appear- 
ance here. She died in the following August. The house 
remained dark until 16th February, when "H.M.S. Parlia- 
ment" had a five nights' season, followed by E. F. Thorne 
and Charlotta Evelyn in Daly's "An Arabian Night/' Mrs. 
Scott-Siddons nth March for three nights; 'The Tragedian 
of Kalamazoo/' and Sid Rosenfeld's "Our School Days/' 
week 15th, with Gertie Granville, Nellie Larkelle, Gus. J. 
Bruno, etc.; M. Grau's French Opera Company in "Mignon," 
etc., 23rd; Felix J. Morris in "Our Girls," 13th April, for 
three nights; Marie Gordon in "Delicate Ground/' 16th; and 
then Mr. and Mrs. Florence in "The Mighty Dollar/' and 
"Ticket-of-Leave Man/' week 21st April, this being Mr. FlDr- 
ence's first appearance here as a star, and his second appear- 
ance in the city since the opening of the Royal in 1852. 
Mr. and Mrs. Daniel E. Bandmann came up from the Theatre 
Royal 19th April, and played a farewell performance in "The 
Stranger/' and "The Happy Pair/' previous to Mr. B/s de- 
parture on his great eastern tour. Joseph Jefferson made his 
first appearance in Montreal nth and 12th May in the play 
that has made him most famous, "Rip Van Winkle." It was 
our fortune to see a third celebrated comedian, within very 
short time of each appearance this season, in E. A. Sothern, 
13th, for three nights in "Our American Cousin/' "Brother 
Sam," and "David Garrick/' The Montreal Operatic Society, 
assisted by Marie Stone, of Emma Abbott's Company, week 
17th, in " The Chimes of Normandy," followed for three 
nights by the D'Oyly Carte Opera Company in "The Pirates 
of Penzance/' "The Queen's Shilling/' week 1st June. This 
closed the season. Contrary to what has already been 
stated of Mr. Lucien Barnes' administration of affairs, he 
seems to have catered some good morsels to Montreal's play- 
goers, even if he was obliged to leave the city suddenly. 
Henry Thomas, formerly ticket-seller, became lessee of the 
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season, 6th August, with Kate Claxton, supported by Charles 
A. Stevenson, in the "Two Orphans," "ihe Double Mar- 
riage," and "Frou Frou." Joseph Murphy came week 14th 
September; Lotta, 20th, for four nights; Tagliapietra Italian 
Opera Company, 5th October, for week; Pond's Musical 
Combination, 18th, for three nights; D'Oyly Carte Opera 
Company, in "Pirates of Penzance," 21st, for three nights; 
Minnie Palmer, in "Our Boarding School," 25th, for week; 
Jarrett & Rice's "Fun on the Bristol/' 1st Nov., for week, 
followed by the first appearance in Montreal of the little fav- 
orite, Corinne, in "The Magic Slipper." This charming and 
clever little comedienne has since been a frequent visitor to the 
city. A French opera company came week of 22nd Novem- 
ber, followed by the Soldene Opera Company, week 29th. 
"A Celebrated Case," with Mrs. Thos. Barry and Sir Randall 
Roberts as the principals, opened week 13th December, and 
on 17th Sir Randall was tendered a benefit. Sara Bernhardt 
made her first appearance in this city, 23rd December, in 
"Adrienne Lecouvreur" ; "Frou Frou," 24th ; "Hemani," 25th; 
and "Camille," at the matinee. Her second engagement in 
Montreal was at the same house week 6th April, 1891, and her 
last, week of 24th February, 1896, in "Gismonda," when the 
theatre was so crowded that the attention of the building in- 
spector was directed to its condition, resulting in its being al- 
most altogether reconstructed. 

MR. AND MRS. W. J. FLORENCE. It was in 1876 that Florence 
made his first hit as the Hon. Bardwell Slote, in "The Mighty Dollar/' 
That character soon became as closely allied to him as Rip is to 
Jefferson, Sellars to Raymond or Sol Shingle to Owens. Williams 
Jermyn Florence (family name Conlin) was born in Albany, 26th 
July, 1 831. His theatrical career began in 1849 at Richmond, Va. 
After undergoing the vicissitudes of a young player, he became a 
member of various stock companies, notably that of John Nickinson, 
of Toronto and Quebec — the famous Havresack of his period. 
Florence married Malvina Pray, a sister of Mrs. Barney Williams, 
in 1853. Three years later they toured in England. Returning to 
the United States, Mr. and Mrs. Florence renewed their triumphs, 
appearing all over the country. Florence joined forces with Jefferson 
in 1889-90, but this interesting combination was interrupted by death, 
the comedian being called away 19th Nov., 1891. Then died one of 
the most cultured character comedians of the century ; a genial 
companion, and a well-informed man of much versatility and charm, 
whose gentleness, modesty, affectionate fidelity and fine talents. 

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united with his spontaneous drollery, to enshrine him in tender affec- 
tion. For a number of years the comedian had been in the habit of 
resorting to the Restigouche, and on the St. Andrew's Day preceding 
his demise had been distributing heather to the sous o auld Scotia 
in the store of Messrs. Fraser, Viger & Co. On ioth June, 1893, Mrs. 
Florence married an actor named George Howard Covenay. In her 
application for a divorce in 1900, Mrs. Covenay said that she knew 
her husband for only one month when she married him; that three 
years ago he demanded $10,000, which she gave him, and then he left 
her. Mrs. Florence recently said : "My last appearance as an actres* 
was in "Heart of Hearts" in Brooklyn several years ago. I love 
the stage, but I am content now to view it from just without the 
active working circle, and with a feeling that I have earned my rest." 

JOSEPH JEFFERSON, the dean of the American stage, was born 
in Philadelphia, 20th February, 1829, and is a descendant of an old 
theatrical family, his father and grandfather (Thomas) both being 
actors, and the latter a contemporary of David Garrick. Mr. Jefferson 
is the second "Joe," and was a half-brother to the celebrated prodigy, 
Charles Burke. His early career was marked by much discomfort 
and privation, and his managerial efforts in the south were not all 
triumphs, as his own story (Autobiography of Joseph Jefferson) 
tells it. He first met with decided success in England, where Bou- 
cicault rewrote "Rip Van Winkle" for him, and the piece ran to 
packed houses for 150 nights. Returning to the United States in 1872 
after an absence of seven years, he recommenced there the career 
which has since become familiar to all play-goers. It is a question 
if his impersonation of Bob Acres has ever been equalled. The ease 
of his manner and the simple perfection of his methods render him 
capable of handling the most extravagant farcical roles with a 
delicacy that redeems them from the stigma of burlesque. Mr. 
Jefferson lives much on his Louisiana plantation, passing hours of 
repose in sketching, etc., and still occasionally favors the rising genera- 
tion with the opportunity of witnessing his great histrionic genius. Mr. 
Jefferson's infatuation for painting and acting were contemporaneous. 
In his daily life both are simply different expressions of the same 
truths. He could no better live without one than the other. Passion 
for the theatre is but part of his heritage. His certificate of admission 
to the great guild of the world's famous actors and artists is engrossed 
with many vouchers, for it is a long flight from the Jefferson of to- 
day to the Yorkshire farmer, Thomas Jefferson, who appeared at 
Drury Lane in 1746. Words are but the mere shadows of all 
that was, the mirror of all that is. His fame is secure. He has laid 
the foundations of it deep in the human heart 

HENRY THOMAS, lessee and manager of the Academy of Music, 
died Nov. 28, 1893, after a lengthy illness. Mr. Thomas was 
fifty years of age, and had been connected with the theatrical profession 
during nearly all of his adult life. He was first connected with the 

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Theatre Royal, Montreal. He afterwards became treasurer of the 
Academy of Music, and assumed the management of that house in 
18S0. He was well known throughout Canada and the United States 
as one of the most popular theatrical managers on the continent. 
He left a widow, who is now Mrs. Frank Murphy. 

CORINNE. Born in Boston, Mass., December 25, 1873, Corinne 
has been on the stage almost from the cradle. She is the daughter 
of the late Mrs. Jennie Kimball, who was at the time a popular vocalist 
and comedienne. Mrs. Kimball became her daughter's sole manager, 
and the girl's successful career, from a financial point of view, is' due 
almost entirely to the remarkable managerial work of the mother, 
Corinne's first appearance was at the National Baby Show in Boston, 
October 22 y 1877, when she created a sensation as a musical prodigy, 
and received the prize of a gold chain and locket studded with dia- 
monds. She made her debut as Little Buttercup in Juvenile "Pinafore" 
company at the Boston Museum, May 12, 1879, and was the central 
figure of the company. Her impersonation of the character revealed 
her as an astonishing example of precocity, and no person of her age 
ever made a greater triumph than Corinne did at that time. She 
captured the audience the moment she came upon the stage by her 
rippling voice and graceful movements. During the season of 1880-1, 
she visited the principal Canadian cities and almost every American 
city, receiving marked attention everywhere. Her tours continued until 
the interference of the Society for the Prevention of Cruelty to 
Children. The tearing of the child from its mother, the abduction, 
the arrest and the incarceration and the climax in the decision of 
Judge Donohue, the return of Corinne to her friends— all these things 
ar.\ no doubt, familiar to my readers. Corinne is not yet married, 
and is a very wealthy young woman, boys, even if her name is Flaherty. 

EDWARD H. COMPTON. The son of Henry Compton, a famous 
c median and one of the favorites of the old Haymarket Theatre, the 
actor may be said to have been born on the stage. He had been in 
harness since he was a child, and his success from an artistic view- 
point was unquestioned. He was one of the actors in the company 
of Adelaide Neilson, whose husband he was generally thought to have 
been by their friends. Later he appeared at the head ©f a company 
which he himself organized, and which was devoted to the presentation 
of high-class plays, both classic and modern. In a series of Shakes- 
pearean revivals, he came into comparison with Irving, while his 
high comedy impersonations were praised without stint. Mr. Comp- 
ton married Virginia, one of the famous Bateman sisters. A brother, 
Chas. Compton, died 16th August, 1897. 

SARA BERNHARDT Mdme. Damala, nee Rosine Bernhardt, 
called Sara, was born in Paris, Oct. 22, 1844. She is a Jewess, of 
French and Dutch parentage, and spent the early part of her life in 
Holland. In 1858, she entered the Paris Conservatoire, became a 

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pupil of M.M. Prevost and Samson, professors of elocution, gained 
a second prize for tragedy in 1861, and a second prize for comedy 
in 1862. She made her first public appearance on the stage at the 
Theatre Francais, in Racine's "Iphigenie" and the "Valerie" of Scribe, 
She attracted hardly any notice, and after a brief withdrawful from the 
stage, reappeared at the Gymnase and the Porte Saint Martin in 
burlesque parts. In January, 1867, she returned to high art at the 
Odeon, playing several minor parts with much applause, till she 
achieved a notable success as Marie de Neuborg in "Ruy Bias." She 
was thereupon recalled to the Theatre Francais, and first showed 
her higher power in Andromaque and Junie ; but it was as Berth* 
de Sauigne in the play of "Le Sphinxe/' performed in March, 1874, 
that she won greatest laurels. In 1879, she visited London, with the 
other members of the Comedie Francaise. In the following year, 
Mme. Bernhardt returned alone to the Gaiety. About this time 
she severed her connection with the Comedie Francais and 
was condemned to pay £4000 costs and damages for the breach 
of her engagement. In June, 1881, she again appeared in London at 
the Gaiety Theatre in "La Dame aux Camilias" for a short series 
of performances, and afterwards made a successful tour, from a 
money point of view, in the United States. She revisited London in 
1885, and played Fedora for the first time in England at the Gaiety 
Theatre. In 1890 she played a long season in "Cleopatra." She is 
the authoress of the one-act play, "L'Aveu," produced in 1888, and a 
few years ago had the order of the French Academy conferred upon 
her. In April, 1882, she was married in the church of St. Andrew, 
Well street, London, to M. Damala, a Greek actor, from whom she 
was shortly afterwards divorced. He died in August, 1889. 


was heralded by Tomasso Salvini, supported by Marie Pres- 
cott, Lewis Morrison and H. A. Weaver. The powerful 
Italian tragedian began his first and only Montreal engage- 
ment, 17th January, in 'The Gladiator," and "Othello," 19th, 
the intervening night having been filled by the Union Square 
Company in "French Flats." Gus Williams, in "Our Ger- 
man Senator," came week 3rd February ; Haverly's Min- 
strels nth and 12th March; Daly's "Needles and Pins," 1st 
and 2nd April; Sol Smith Russell in "Edgewood Folks," 
week 18th April; Louis Aldrich and Charles T. Parsloe, in 
"My Partner/' week 28th; and Mr. and Mrs. McKee Rankin, 
in "The Danites," week 2nd May. The Holman Opera Com- 
pany appeared two nights from 29th April, and Mrs. J. W. 
Buckland appeared in a benefit performance, 17th May, in 
"Little Treasure" and "Married Life." Genevieve Ward, in 

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"Forget-Me-i\ot," 18th, for four nights; Norcross Comic 
Opera Co., week 7th July; French Comedy Company, week 
nth; Haverly s Minstrels, nth August, three nights; "The 
World," 15th August, week; Rose Ey tinge, in "Felicia/' 31st, 
four nights; Ada Gray, in "East Lynne,' week 5th Septem- 
ber; John P. Smith and VVm. Metayer's "Tourists/' 12th, 
week; Lotta, 19th, for four nights; L. O. David's "One Hun- 
dred Years Ago/' translated by John Lesperanoe from the 
author's French. Both these gentlemen were prominent 
Momrealers, and the former is the present city clerk. The 
company which presented the piece was a poor one, and did 
not do justice to the very laudable and clever effort of Mr. 
David. C. W. Couldock and Effie Ellster, the original Dun- 
stan and Hazel Kirke, appeared week 19th September in 
"Hazel Kirke'*; Mr. and Mrs. W. J. Florence, 13th, for three 
nights; Mrs. Burnett's "Esmeralda," from Madison Square 
Theatre, week 18th, including Agnes Booth, Kate Denin, 
Eben Plympton and E. A. McDowell. Frank Mordaunt, in 
"Old Shipmates," came 31st October. A very strong feature 
of the season was the appearance of the Wallack Company, 
7th November, opening in "School for Scandal''; "Money," 
8th; "She Stoops to Conquer," 9th; and "London Assurance," 
10th. The personnel of the company is shown in the following 
cast of "The School for Scandal"' : Sir Peter Teazle, Mr. John 
Gilbert; Sir Oliver Surface, Mr. Henry Edwards; Sir Ben- 
jamin Backbite, Mr. Wilmot Eyre; Charles Surface, Mr. Os- 
mond Tearle; Joseph Surface, Mr. Gerald Eyre; Careless, Mr. 
Herbert Ayling; Moses, Mr. William Elton; Trip, Mr. C. Ed- 
win; Crabtree, Mr. Dan Leeson; Rowley, Mr. Harry Gwynette; 
Joseph's Servant, Mr. H. Pierson; Snake, Mr. J. Bishop; Lady 
Teazle, Miss Rose Coghlan; Lady SncerzL'cll, Miss Agnes 
Elliot; Mrs. Candour, Madame Ponisi; Maria, Miss Stella 
Boniface. This was unquestionably tine strongest company 
that ever appeared in the piece in Montreal, and marked the 
first and last engagement here of John Gilbert and Henry 
Edwards. Sam Hague's Minstrels came 10th for four nights; 
A!ex. Caufman in "Lazsre," week of 14th; and Eric Bayley's 
Comedy Company, week of 21st, in "The Colonel," a play 
based on the aesthetic verse by F. C. Burnand, editor of 
Punch. Ernesto Rossi, the great Italian tragedian, made his 
first and last appearance in Montreal 31st November for three 
nights, commencing in "King Lear," "Hamlet" and "Oth- 
ello." No actor has since played "King Lear" in this city. 
The tragedian was supported by Milnes Levick. Following 

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Rossi came "Rooms for Rent," wvek 5th December, and the 
Boston Museum Company in "Patience," week of 26th De- 
cember, closing a very bright and eventful theatrical year. 

TOMASSO SALVINI was born in Milan, Italy, 21st Dec, 1833. 
His parents were strolling players, but their son was educated at the 
best schools in Florence, where the most beautiful works of art 
abound, and where the Italian language is spoken in its purity. While 
here it became evident that he had inherited a taste for dramatic per- 
formances and talent for acting. There was a small theatre connected 
wLh the school, and while playing here with his companions he 
played such precocious abilities as to attract the attention of his 
teachers and his parents. It was then determined to educate the youth 
for the stage, and his father assumed the direction of his studies. 
When only 14 years of age he was engaged in a well-known theatre, 
and assigned to important characters. It should be borne in mind 
by the reader that the human form nntupes more rapidly in the 
sunny clime of Italy than in colder latitudes. In 1848 Salvini be- 
came a pupil of the celebrated actor, Gustavo Modena, whose train- 
ing bore immediate fruits ; and in the subsequent engagements 
which he obtained he acted David in "Saul." Carlo in "II Fillipo," 
Kcmours in "Luigi XT' (Louis XI). and numerous other characters 
more successfully, it is said, than they had been previously interpret- 
( d by any other actor so young in years. At the age of 15. by the 
death of his father (his mother having died sometime previously), be 
was left very poor. Ristori at that time was making a tour of the 
Italian cities. Salvini successfully applied for an engagement. He 
played the leading opposite roles to this distinguished artist; shared 
with her the laurels of many great performances. This troupe was 
known as the Roman company, because at certain fixed periods it 
appears I in Rome. While phy!ng there in 1849. during the progress of 
the French invasion, and when the city was seiged by the forces of 
Napoleon, Salvini shouldered a musket, and took his place in the 
ranks of the patriots. When the Roman Republic succumbed, Salvini, 
with other patriots, escaped fr^m the capitol, and fled toward 
Florence; but, being forbidden to land at Leghorn, he proceeded to 
Genoa where he was arrested and lodged in prison. Subse- 
quently a relative procured his release, and upon his arrival in 
Florence he was again seized and imprisoned, and at last 
set free only upon the condition that he should at once leave 
the country. Going to his native city, then in possession of the 
Austrians, he was banished from Milan, and for a long time 
thereafter he was kept under rigid police surveillance, owing to his 
attachment to the cause of Italian freedom. These persecutions 
caused him to retire from the stage for a time, and he wen' to Florence, 
where, in the home of some near relatives of his mother, he lived 
for one year sequestered from society and police observation. He 

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occupied this time by studying Othello, Saul and Orosmano in Voltaire's 
"Zaire," and when he resumed his profession he made some of the 
greatest successes of his life in these roles. He subsequently added 
to his repertory the character of Edipo, and in it gained an artistic 
fame, which spread throughout Italy. Salvini's reputation being 
now thoroughly established in his native land, he desired to go 
abroad, and first tempted fortune in Paris, where he played in "Zaire," 
"Oreste," "Saul," and "Othello," with marked success. Returning 
to Italy, he pursued his profession and won the special friendship 
of Giacometti, who wrote for him the tragedy of "La Morte Civile," 
in which Salvini afterwards roused the wildest excitement by his 
superb acting. During this time he organized the Mutual Protective 
Society of Actors, of which he was elected president. When in 1865 
the six hundredth anniversary of the birth of Dante was celebrated 
in Florence, he participated in the festival upon invitation of the 
government of that city, and recited portions of that poet's "Divine 
Comedy," and walked in the procession, under the banner of the 
society of artists above referred to, as the representative of the 
dramatic profession. Upon that occasion he was decorated by the 
King, Victor Emanuel, with the Order of St. Mauritius and Lazarus. 
At this time, both Ristori and Rossi being in Florence, a representa- 
tion of "Francesca di Rimini" was projected, and to strengthen the 
cast Salvini acted the small part of Lanciotto, and made a great im- 
pression in it- He was presented by the Government of Florence 
with a statuette of Dante and a costly watch in recognition of his 
services. He next went to Spain and Portugal, and while playing 
in Lisbon he received from King Louis the Order of St. Iago. 
In 1870. he received an offer to piay in South America, which he 
accepted, and sailed with a large theatrical company for that country, 
in 187 1. He played in Montevideo, Buenos Ay res «and Rio de Janeiro. 
During the period of this visit the Emperor of Brazil was 
travelling in Europe, and when Salvini returned to Rome to 
fill an engagement, he was notified by the Brazilian Ambassador that 
Dom Pedro, the Emperor of Brazil, on his return to his king- 
dom had conferred upon Salvini the Order of the Rose, with 
the insignia of which he was subsequently dulv invested. Sep- 
tember 10, 1873, Salvini and an Italian company arrived in New 
York from Havre, France, and made their first appearance 
in America in the Academy of Music, acting "Othello," Salvini 
playing the title character, and demonstrating that he was one of 
the greatest exponents of that role that ever trod the stage. After 
concluding a tour of this country he sailed for England, where his 
performances in London elicited the highest encomiums of approval, 
and where during his sojourn he wooed and won an English wife. 
Together they returned to Florence, where they have since resided, 
much of the time in retirement, although he has since returned to 
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His son Alexandre* met with success here in the romantic roles 
in English. He was a promising young actor, but his career was 
soon cut off, dying 15th December, 1896, aged 35. Another son 
Gustavo, has, however, taken up the mantle of the sire and has al- 
ready been proclaimed a great actor. 

GUS WILLIAMS is one of the best delineators of Dutch business 
of the century. He was born in New York city, 19th July, 1848. and 
his real name is Gustave Wilhelm Leweck. He enlisted in 1862, 
serving until the close of the war, when he joined Ashton's company 
at Huntsville. He was with Tony Pastor from 1868 to 1878, since 
which time he has starred in various pieces calculated to bring out 
his particular talents. Recently he has returned to the vaudeville 

SOL SMITH RUSSELL was a western product of 1848— 15th June, 
at Brunswick, Mo. He first appeared on the stage at the age of 
fourteen. His father had never seen a play, but his mother was a 
sister-in-law to Sol Smith, a well-known actor in that day. His first 
regular salary was $6 a week. His star began to glimmer about 1866, 
when he was in Ben De Bar's Theatre in St. Louis. He did not 
appear in New York city until 1871, and began starring in "Edge- 
wood Folks" in 1880, a piece that permitted of songs and sketches 
and some character work. He later appeared in "A Poor Relation," 
"The Tale of a Coat," "A Bachelor's Romance," and lastly "Hon. 
John Grigsby." His home was in Minneapolis, where his widow and 
two children, Robert and Lillian, reside. At Chicago, on 18th Dec, 
1899, Mr. Russell broke down, and died 28th April, 1902. 

ARTHUR M'KEE RANKIN is a Canadian, having been born 
in 1844, at Sandwich, Ont. His theatrical debut was made in Roches- 
ter, N. Y., in 1861. He married Kitty Blanchard, the actress, nth 
December, 1869. Her mother, who thought herself dying, expressed 
a wish that she should be married. Mr. Rankin, who was fulfiling 
an engagement in Canada, was telegraphed for. He arrived in good 
time, for his mother in-law rallied and lived to bless him for five 
years. In 1877 he bought the right to dramatize "The Danites," 
from Joaquin Miller, for $5000, and it was first produced 22nd 
August, at the Broadway Theatre. It was very successful here, 
but failed in Great Britain. His next effort was a grand pro- 
duction of "Macbeth" in San Francisco. To us he is most familiarly 
remembered as Jean Baptistc Cadieux in 'The Canuck," a character 
which he played to the life, and in which he appeared at the Academy 
of Music, week 13th October, 1890. Mr. and Mrs. Rankin separated 
as artists, and also as man and wife, some time prior to this. His 
last appearance in Montreal was during the week of 22nd May, 1893, 
in association with the Drews, Barrymore and E. J. Lyons, in a 
revival of "The Rivals." His daughter, Phyllis, also appeared in the 
cast, and is a prominent stage figure at this writing. His eldest 

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daughter, Gladys, is Mrs. Sidney Drew. Mr. Rankin's latest efforts 
have been in the production of several standard dramas, in association 
with Nance O'Neil. 

KITTY BLANCHARD RANKIN was born in 1847 in Phila- 
delphia. Her father, Loring Blanchard, died when she was four 
years of age, and she made her first appearance on the stage as a 
dancer, when not quite ten years of age, , at the old National Theatre, 
under the management of John Drew the elder. She has acted in 
all the principal female roles of the Shakespearean repertoire except 
Juliet and Lady Macbeth, and competent critics have pronounced her 
Nancy Sykes to be one of the most finished impersonations of the 
character ever presented on the American stage. Thousands of 
theatre-goers all over the country have enjoyed her acting in the 
dual role of Nancy Williams and Billy Piper in 'The Danites" and 
her roguish delineation of Carrots in '49. 

LOUIS ALDRICH (right name Salma Lyon) had the distinction 
of being born in mid-ocean, 1st October, 1843. His boyhood, which 
was spent in Cleveland, was filled with hardship and sorrow. When 
he was but little more than ten years old he was thrown upon his 
own resources, and, fortunately for the theatrical profession, he 
elected to earn his living on the stqge. In school he had been noted 
among his fellows as a declaimer and recitationist. His talent in 
that direction was remarkable. He sought the theatre, therefore, 
as the natural and most promising field for his bread-winning. It 
happened that, when he was about eleven, a benefit performance to 
Mrs. John Ellsler was arranged at the Cleveland Theatre. The 
boy begged John Ellsler to let him appear in it, and Mr. Ellsler, 
after testing him, agreed to let him appear as Richard III. in two 
acts of that tragedy. So extraordinary was the acting of the young- 
ster that the management engaged him for the following week to play 
the entire tragedy, and billed him as "the Ohio Roscius." He re- 
peated his first success and was immediately taken on the road through 
the West as a boy star. In May, 1863, he went to New Zealand 
returning to America in the following October. His first appearance 
at New York was on the occasion of a farewell performance of 
Charles Kean in America, in "Louis XL," Aldrich appearing as 
Coitier t Mr. Aldrich rose to fame with Bartley Campbell's play of 
<4 My Partner." As an officer of the Actors' Fund he accomplished 
more in the way of philanthropy than any actor of the time. He 
was among the earliest active members of the Fund ; he served as 
first vice-president for eleven years, and from June, 1897, to June, 
1901, he was president of the Fund. During that period he labored 
in the cause of charity with a devotion rarely equalled, his enthu- 
siasm never for an instant cooled, h:s purpose never faltered. The 
Fund became his very life, as he, truly, became the presiding spirit of 
the Fund. His last and greatest work in behalf of the institution was 
the raising of money to build the Actors' Fund Home. He died 17th 
June, 1901. 

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MRS. AGNES BOOTH {nee Agnes Land Rookes) was born in 
Australia in 1843. She arrived at San Francisco in company with her 
sister, Belle, in 1858, and shortly afterwards married Harry Perry, 
an able, but too jovial actor, who died in 1861. Coming east she 
became a strong star, and in 1866 married Junius Brutus Booth, son 
to the elder of the same name and brother to Edwin and John W. 
Booth. J. B. Booth died in 1883. leaving her $200,000. After a 
year of widowhood she married Mr. John SchoerTel, the partner 
of the late Mr. Abbey. Mrs. Booth retained her stage name, and 
or.,y recently retired. She is to the American stage what Mrs. 
Kendall is to the English boards. 

JOHN GIBBS GILBERT probably never had an equal in such 
parts as Sir Anthony Absolute, Sir Peter Teazle and similar roles of 
the old comedies. John Gilbert was born 27th February, 1810. 
After leaving school he measured calico for five years, and finally 
trod the boards for the first time 28th November 1828, as Jafiier 
in "Venice Preserved" at the Tremont Theatre, Boston. He was 
successful from the start, and rose rung by rung on the ladder of 
fame until around this splendid actor some of the proudest memories 
of the stage entwine themselves. The veteran died 17th June, 1889. 

GEORGE OSMOND TEARLE, w ho was known in America 
through his memorable work some years ago as leading man of 
the late Lester Wallack's company, died at Newcastle-on-Tyne, Eng- 
land, Sept. 6, 1 901. Osmond Tearle was born in Plymouth, in County 
Devon, in 1852. At the age of fifteen he was articled in a law office 
in Liverpool, since it was the desire of his parents as well as him- 
self that he should become an attorney. For two years he devoted 
himself to his legal studies, attending, when occasion offered, elocu- 
tionary classes, public readings and theatrical performances. He soon 
gained some reputation among his fellows as an elocutionist, and 
as a result he was invited to take part in an amateur performance 
of Julius Caesar. In the character of Trebonius, upon that occasion, 
he gave so creditable a performance, and was so highly complimented 
upon it, that he decided to abandon the law in favor of the stage. 
He had little difficulty, it appears, in finding an opportunity to enter 
tl e profession, for on March 29, 1869, when he was but seventeen 
years old, he made his debut on the stage of the Adelphi Theatre, 
Liverpool, in the role of Guildenstern in Hamlet. Mr. Tearle's 
fame eventually reached America, and several American managers 
sought to bring him to this country. Among them was Lester 
Wallack, who finally secured him for the position of leading 
man of his company. In September, 1880, Mr. Tearle made his 
first appearance in this country at the Star Theatre, under the man- 
agement of Mr. Wallack. He quickly sprang into public favor and 
became one of the most popular leading men that New York has 
ev.r known. When Henry E. Abbey took over the management of 
Wallack's in 1887, Mr. Tearle was engaged as leading man of the 

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company. He acted there and on the road in America for several 
seasons, and about twelve years ago he returned to England to 
remain permanently. In 1889, and again in 1890, Mr. Tearle man- 
aged and acted in the Shakespeare commemoration performances 
at Stratford, producing upon the first occasion Julius Caesar and 
the first part of "Henry Sixth/ 1 and upon the second "Two Gentle- 
men of Verona" and "King John." Since leaving this country Mr. 
Tearle has toured steadily at the head of his own company in Eng- 
land. He was highly popular with the public, and was regarded by 
critics as one of the best Shakespearean actors of his time. 
Mr. Tearle was twice married. Alter being divorced from his first wife, 
he married Minnie Conway, the American actress— formerly the wife 
of Jules Levy, the cornetist— in Denver, Col., in 1883. 

HARRY EDWARDS was one of the soundest actors of the 
modern stage, and it was in the line of "old men" that he chiefly 
excelled, associated with the names of Wm. Warren, Wm. Davidge, 
John Gilbert and Chippendale. He was born at Ross, England, 23rd 
September, 1824. He was a clerk in his young manhood, and an 
ambitious amateur actor in company with J. L. Toole and Walter 
Montgomery. In 1853 he went to Australia, where he remained 
many years. He married Avonia Jones-Brooke, widow of Gustavus 
V. Brooke, the tragedian, and the daughter to Mrs. Melinda Jones, 
at one time lessee of the old Theatre Royal on St. Paul Street. In 
1866 he went to San Francisco, and in 1878 first appeared in the 
East as Master Walter to the Julia of Mary Anderson. He joined 
Wallaces company 8th December, 1878. His last engagement was 
as the Earl in "Fauntleroy," in Australia, returning to New York 
a year before his death, which occurred 9th June, 1891. Mr. Edward 
was a man of refined and cultured tastes, scientific as well as literary, 
and an orator of great power. He had great interest in entomology, 
his collection of moths and butterflies containing more than 300,000 

CHARLES THOMAS PARSLOE died in New York city, 22nd 
January, 1898. He was born in New York, October 1, 1836. His 
father, Charles Parsloe, was an English actor, and managed the 
second dramatic agency in this country. He was identified chiefly 
with the role of the Chinaman in "My Partner," and was co-star with 
Louis Aldrich in that melodrama during its great vogue of fifteen 
years ago. His portrayal of Wing Lee was in accordance with Bret 
Harte's descriptions rather than with any results of actual study and 
observation of such "Chinks" as had made the West their abiding 
place in those days; but the public accepted the impersonation as a 
triumph of character acting. In other roles Parsloe was not so 
successful, although he was a fair actor of comic character. His 
tours with Mr. Aldrich netted him $65,000, yet he died poor. He 
was last seen in Montreal as a star at the Academy in 1887 in "A 
Grass Widow." He lost $5,000 on that tour. 

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ERNESTO ROSSI was born 27th Aug.. 1829, at Leghorn, Italy, 
which is not far from Pisa, where he was educated at the university, 
to fit himself for the legal profession. Much to his parent's disap- 
pointment, he found that his son evinced no predilection for that 
pursuit, and that his declaiming propensity was histrionic rather 
than forensic. He read plays, recited passages from them, and 
frequented theatres, instead of poring over the musty tomes of 
Justinian, etc. He joined an amateur company, and, having once 
felt the inspiration of playing before an audience, he could not be 
brought back to the routine of the university. In 1846 he ran off, 
joining a strolling company, and made his regular debut at Fogano, 
Tuscany. His salary was 15 centissimi Derday — 3 cents. His father 
having abandoned all hope of seeing his son a conspicuous advocatet 
and his kinsmen and friends having failed to draw him from the 
avocation which had fascinated him, he was permitted to follow the 
bent of his own desires. He enrolled himself as a member of a pro- 
fessional dramatic company managed by Signor Marchi, and speedily 
gave indication that nature had intended him for the stage. Possess- 
ing youth, personal Comeliness, a slight, graceful figure, and a melo- 
dious voice, he was especially fitted for the impersonation of lovers, 
in which roles he made a signal success. After leaving Marchi he 
entered a dramatic school, then recently founded by Gustavo Modena, 
under whose instruction he vastly improved. He subsequently 
appeared at the Carcano theatre, Milan, and later at the Carignano, 
Turin, being cordially received at both. After performing in many 
other Italian cities, he first visited Paris, France, in 1855, as a 
member of the company supporting Ristori, he then being 26 years 
of age. He was highly complimented by the critics for the delicacy 
and finish of his impersonations. From Paris, Rossi went 
to Vienna and introduced to the Austrian public many of the 
comedies of Goldoni, the Moliere of the Italian stage. In 1866 he 
made his second professional visit to Paris, and was cordially received. 
While playing at the Italian theatre there he presented many of the 
pieces of Goldoni, who passed the last thirty years of his life there, 
during which time he wrote his best known comedy, entitled 'The 
Benevolent Grumbler." On the anniversary of Corneille, Rossi ap- 
peared by invitation at the Theatre Francais, impersonating the hero 
in "The Cid" in the Italian translation of the French poet's master- 
piece. The Parisians were so favorably impressed with his art that 
they proclaimed him the Italian Talma. Rossi began to study Shake- 
speare, and achieved distinction as Hamlet, Lear, Romeo, Coriolanus, 
Macbeth and Othello. These delineations were witnessed in Madrid, 
Lisbon, Paris, London and other European capitals, and elicited 
very favorable criticism. Hamlet was Rossi's favorite role, and in 
it he made his first appearance on the English stage in Drury Lane 
theatre, London, April 19, 1876. The success achieved here by 
Salvini, who was a personal friend of Rossi, induced him to visit us. 

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ERNESTO ROSSI (as Hamlet). 

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He arrived September 30, 1881, in which year he published a book: 
"Forty Years of an Artist's Life/' He practically retired in 1889, 
but reappeared, occasionally playing, in Russia chiefly, where he 
was very well liked. Signor Rossi, rich with honor, and revered 
by the world, passed through the sunset gates, 4th June, 1896. 


was opened by Anna Graham, week 2nd January. She was 
supported by Forrest Robinson in a production of " The 
Legion of Honour." Hermann, the magician, first appeared 
here week 9th January. Haverly's Minstrels came for three 
nights from 26th January; the Hoey-Hardie Company, in 
Geo. Hoey's "A Child of the State," 14th to 16th, when "Dip- 
lomacy" was staged for three nights, and Brookes & Dick- 
son's "The World," week 20th January, after which the house # 
was dark until 6th and 7th March, when Barlow, Wilson, 
Primrose & West's Minstrels appeared, followed by Haverly's 
Opera Company in "Patience" and "The Mascot," week 13th 
March. Genevieve Ward in "Forget Me Not," 20th and 21st, 
and the second engagement here of Mary Anderson, sup- 
ported by William Harris, J. B. Studley, Robert L. Downing 
and Mrs. M. A. Pennoyer, opening 22nd March with "Romeo 
and Juliet," Mary Anderson as Juliet, Wm. Harris as Romeo, 
J. B. Studley as Mercutio, Robert Downing as Friar Lawrence, 
and Mrs. Pennoyer as the Nurse. Then followed "Ingomar," 
"The Hunchback," "Lady of Lyons" (matinee), and closing 
25th with "Pygmalion and Galatea." This was Mr. Down- 
ing' s first appearance here. His last engagement was at the 
same house, week of 23rd October, 1893, in classical reper- 
toire, supported by Edmund K. Collier and Eugenia Blair 
(Mrs. Dowing). W. H. Gillette, in "The Professor," was 
the next attraction, week 10th April ; J. T. Raymond, in 
"Fresh/' and Col. Sellars/' 17th, 18th, 19th; Helen Coleman 
in "Widow Bedott," 20th, 21st, 22nd; Gus Williams, in "Our 
German Senator," and "Prof. Reiser/' 27th, 28th; and J. W. 
Collier's " Banker's Daughter," with Joseph Whiting and 
Adele Belgarde, 2nd May, for five nights. Montreal's most 
popular tragedian, Thomas W. Keene, made his first bow 
week 8th May in this city as a star, and a bright one too. 
George Learock was in the leading support. The opening 
was in "Richard III.," 8th; "Richelieu," 9th; "Othello," 10th; 
"Hamlet," nth; "Macbeth," 12th; "Fool's Revenge," nth 
(matinee); and "Richard" for the closing performance. Mr. 
Keene reappeared here week 12th March, 1883; 18th Febru- 

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ary, 1884; 19 th January, 1885; 29th February, 1892; 10th 
April, 1893; 25th xMarch, 1895; and lastly, 10th May, 1897. 
He Had always been Montreal's tavonte bhake&pearean 
actor. Maurice Grau s Frencli Up^ra Co. followed, 10th, tor 
eight nights; Kate Claxton, in "Two Orphans,' "Double 
Marriage," and "l-rou l<rou," 25th, for three nights; Charles 
Wheatleigh and Sydney Covvell, in "Hazel Kirke," 29th, for 
three nights. Miss Covvell was the original Dolly Dutton in 
the piece. The season closed until 14th August, when 
44 Youth" was produced for the rirst time here; "Michael Strog- 
off," 2 1 st, for one week; also first production Gorge S. Knignt 
in "Baron Rudolphe," 28th, for one week; Hermann came 4th 
September, for four nights; Helen Blythe, in "Only a Far- 
mer's Daughter," 8th, for two nights; Alex. Caufman, in 
•'Called to Account," supported by D. H. Harkins and Lottie 
Church (Mrs. J. A. Stevens), nth September, for on-o week; 
Lotta, in "Bob/' etc., week 19th; Laura Don, in "A Daughter 
of the Nile," week 25th; Collier's "Lights o' London," 21U 
October, for w^eek; Edwin F. Thome; Nat C. Goodwin, Jim., 
and Eliza Weathersby, week 9th October. Lawrence Bar- 
rett made his second star appearance here 25th October, ap- 
pearing four nights, supported by Louis James and Marie 
Wainwright. He opened in "Richelieu''; "Hamlet," 26th; 
"Shylock" and "David Garrick," 27th; "Marble Heart" 
(matinee), and "Yorick's Love/' 28th. The following was 
the cast of the opening night in "Richelieu": Cardinal Riclie- 
li€u f Lawrence Barrett ; King Louis XIII., Charles Rolfe ; 
Duke of Orleans, Erroll Dunbar; Count de Baracas, F. C. Mos- 
ley; Adrian de Mauprat, Louis James; Sieur de Berenghen, 
Chas. Plunkett; Huguet, Homer Cope; Father Joseph, B. G. 
Rogers; Francois^ Albert T. Riddle; Clermont, Percy Winter; 
Captain of the Guard, Louis Lyon; First Secretary, Garrie 
Davidson; Second Secretary, George Vail; Third Secretary, 
Robert Sutton; Julie de Mortimer, Marie Wainwright; Marion 
de Lorme, Josie Batchelder. This was the tragedian's first 
visit to the city since 28th August, 1872. at Theatre Royal. 
His last appearance was at the Academy week 18th May, 
1885. Maud Granger and Harry Lacy came week of 30th 
October in Tillotson's "The Planter's Wife." M'lle. Rhea, 
supported by William Harris, made ber Montreal debut, week 
6th November, appearing in "Adrienne Lecouvreur," "Cam- 
ille," and "Much Ado About Nothine." Following Rhea 
came Snyder and Gran's Opera Co. for three nights from 13th 
November; Fanny Reeves (Mrs. McDowell), week of 20th, in 

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repertoire; Sam Hague's Minstrels, 27th; "The Rose of Yuba 
Dam," with Hattie Grinnell, week 4th December; Haverly's 
Opera Co., week nth, in "The Merry War"; Boston Ideal 
"Unck Tom" Double Co., week 18th; and Lillian Cleues, 
supported by Richard Foote, week 25th, in "The New Mag- 
dalen/' closing the year. 

ANNA GRAHAM was born in Philadelphia about 1837. She 
and her sister, Lillie, made their appearance on the stage at the 
City Museum in 1855 as Julia and Helen in 'The Hunchback." She 
was for several years a favorite leading lady under the management 
of J. S. Clarke at the Walnut. She married Frank L. Gardner, and 
several years ago retired from the stage, now living in Philadelphia. 

ALEXANDER HERMANN was born in Paris, 1844. He followed 
in the footsteps of his father, S. Hermann, who was also a well-known 
magician in his time. He left a widow, but no children. He made 
his first appearance in America at the Academy of Music in New 
York city in 1861, where he played 75 nights. Then, with his 
brother, he made the tour of the world. In 1867 his partnership 
with his brother was dissolved, and Alexander started out for him- 
self, making another tour of the world. He returned to this country 
in 1874, an d remained until his death, 17th December, 1896. 

MAUD GRANGER (nee Annie E. Brainard) was born in Con- 
necticut in 1846. She made her debut from the class of a New York 
teacher of elocution at the Union Square theatre, 1st October, 1873, 
as Fraisette in "The Geneva Cross." She made good headway, and 
subsequently was one of the six Juliets whom Rignold made love to 
in his historic performance of "Romeo and Juliet" at Booth's 
Theatre. She afterwards supported McCullough. In 1880 she mar- 
ried Alfred Follen, under whose management* she toured for some 
time. She is now Mrs. Wm. R. Baxter. She is an actress of no 
profundity of emotion or variety of power, appealing altogether for 
endorsement to the senses alone, and has little trace of vital intelli- 
gence about it. 

HARRY LACY has created roles in a number of modern dramas 
and has been starring since about 1880, "The Planter's Wife" being 
among his earlier successes. He has since appeared in "The Still 
Alarm." He is thorough in all his work, and his fine stage presence 
makes him particularly fitted for heroic work. He was last seen in 
the Vaudeville theatres. 

GEORGE S. KNIGHT was a welcome feature for several seasons. 
His real name was Sloan, and he was born in Philadelphia in 1850. 
He was a graduate of the vaudeville, where he attained celebrity as 
a dialect singer and comedian. In 1875 he married Sophie Worrell 


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(born in 1848 in New Orleans), with whom he subsequently starred, 
meeting with considerable success. They appeared in London, Eng., 
in i88o_in "Otto," but their most pronounced hit was in "Over the 
Garden Wall." They afterwards appeared in "Baron Rudolph," and 
had made preparations for an Australian tour, but death prevented, 
Mr. Knight having the curtain rung down on him 14th January, 1892. 

JOSEPH F. WHITING is a son of the late David Whiting, and 
brother of the late Virginia Whiting Loring, both known and 
esteemed in American theatrical circles, Joseph E. Whiting was 
boym' in Boston, Mass.* but was educated in New York city, at 
Trinity School. His first public appearance was as a chorister in 
Trinity Church, where he sang during two years. As a youth Mr. 
Whiting naturally breathed a dramatic atmosphere, and it is not 
surprising that, as soon as he had finished his studies, he went on 
the stage, about 1858, at Washington, D.C. He became a favorite 
leading man in the best stock companies of the day. Mr. Palmer 
engaged him to play the leading part in "Jim the Penman/' and he 
played nothing else until he did Abbe Latour in "The Dead Heart," 
with James O'Neill, and then with Margaret Mather, playing Mer- 
cutio, Rolando, La Hire in "Joan of Arc," etc. He married Lillie 
Brandon, who obtained a divorce from him. 

ADELE BEIiGARGE (nee Adelaide Levy) has been on the stage 
since 14th February, 1879, when she appeared in "Romeo and Juliet" 
in Newark, N.J. 

ROBERT I* DOwxiuiG. The history of the American stage 
records few instances where an actor has so suddenly sprung into 
prominence as has Robert L. Downing. Mr. Downing was born in 
Washington, D.C, October 28, 1857. At a very early age he evinced 
a decided liking for the Thespian art, and at eighteen he became a 
member of the stock company at Ford's Theatre, Baltimore. His 
parents were averse to his adopting the stage as a profession, but, 
when they observed how strongly the twig was bent, very sensibly 
allowed their son to follow his inclination. After a prosperous sea- 
son with Mr. Fechter, he was engaged as leading support to Edwin 
Booth, and afterward played in that capacity with Charlotte Cush- 
man, Dion Boucicault, Joseph Jefferson and other stars. In 1881 he 
made his New York debut with Miss Anderson as Claude Melnotte at 
the Fifth Avenue Theatre, remaining with her until she left to fulfil 
her engagement in England. During his engagement with Miss 
Anderson and other stars, his career had been carefully watched by 
Joseph H. Mack, who had taken a friendly interest in the young 
actor, and who, after McCullough's death, conceived the idea of 
bringing Downing out as Spartacus in an elaborate production of 
• The Gladiator." His wife, Eugenia Blair {nee Wren), first married 
Forrest Robinson in 1881. They have lived more or less apart for 

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the last five years. Downing is a very fair representative of the 
school that had its last modern representative in John McCullough. 
A decade ago Downing could pack any theatre when he appeared 
in "The Gladiator," and many of you remember the effective posters 
that announced him, and to which no little of his prosperity in those 
days was due. Of late years he has known very little of good for- 
tune, and has not been a very conspicuous figure in the theatre of 
the hour. 

HOB/TENSE BARBB-LORET, called RHEA, was born in Brus- 
sels 4th September, 1844, and, in accordance with the custom of that 
country, was placed by her father, a wealthy manufacturer, in a con- 
Tent, where she remained until she was fifteen years of age, being 
recalled home by the death of her mother. Not long after her 
mother's death, Melle. Rhea's father lost his fortune, and soon after 
died, leaving his three daughters with but a small sum of money with 
which to struggle against adversity. Luckily, the elder daughters 
married early, and the future actress endeavored to turn her musical 
accomplishments to profit by giving lessons, but the tax upon her 
strength proved too severe, and she was forced to abandon this mode 
of earning a living. She then determined to try her luck upon the 
stage, and, having studied "Athalid's Dream," she presented herself 
to Charles Fechter, who encouraged her to continue her studies. 
In Brussels she played for some time with success, but returning to 
Paris, and finding it almost impossible to obtain an opening at any 
of the Paris theatres, she formed a company and played "L'Etran- 
gere" through the Provinces. Eventually she was offered an en- 
gagement in St. Petersburg, Russia. The disturbed state of the 
empire and the assassination of the Czar closed the theatre, where- 
upon Melle. Rhea visited England and began to study the English 
language, of which she already had considerable knowledge, placed 
herself under the dramatic guidance of John Ryder, and made her 
debut on the English stage a month later. She appeared at a matinee 
performance in the Gaiety theatre, London, Eng., June 21, 1881, 
playing Beatrice in "Much Ado About Nothing," speaking English. 
She made her American debut at Haverly's Theatre, Brooklyn, N. Y., 
and her New York debut at Booth's theatre in the fall of 1881. 
Melle. Rhea had an intelligent face and exuberant vivacity, but her 
voice, as I remember it, was far above concert pitch, and her English 
very difficult to follow, nevertheless her Josephine was well liked here. 
Her last engagement here was at the Academy week of 6th Decem- 
ber, 1897. She retired from the stage in 1898, to Montmorency, 
France, where she died 9th May, 1899. She was personally a 
woman of great beauty, but of little real artistic quality. Her man- 
agers used her reputation, which was purely artificial, to give her 
an eminence she never deserved. She was a hard working woman, 
an indifferent actress and had public successes, which were created 

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by good advertisements which gave importance to her interest and 
do not belong to her death. 

WILLIAM HARRI S was born in New York, 25th October, 1839, 
and made his debut at the National Theatre in that city in July, 1854, 
as the First Soldier in "Pizarro." He subsequently travelled with 
Crisp's company through the South. In i860 he enlisted in the 34th 
Ohio Regiment at Cincinnati and rose to the rank of captain. He 
was with Sheridan through the campaign in Shenandoah Valley, and 
was wounded 25th July, 1865, at Martinsburg, shortly afterwards 
returning to the stage, first appearing at the Boston Museum. His 
best work has been done in support of Hortense Rhea for many 
seasons. More recently he has been in the support of Julia Arthur. 

SYDNEY COWEIX on or off the stage is the same blithe 
being. For her it is no task to simulate gayety or high spirits ; she is 
by nature a genuine comedienne with a rare fund of good humor and 
inherent fun. Miss Cowell tells us her story as follows: "I was 
born within the sound of Bow Bells, but my grandfather, Joseph 
Leathley Cowell, was a naturalized citizen of America, and my father, 
'Sam' Cowell, was raised and reared here. Both my father and 
grandfather were famous comedians in their day, and my father's 
sister was Sydney Cowell before me. She was the mother of the 
celebrated Bateman children. Miss Bateman was renowned for her 
performance of Leah. Isabel Bateman and Mrs. Edward Compton 
are my first cousins." I had accepted an engagement with the late 
J. B. Buckstone for the Haymarket Theatre, London, when Charles 
Wyndham offered me substantial inducements to come to New York 
with his famous comedy company. Since then I have played only in 
this country. Dolly Button in Hazel Kirke was my next success. I 
played it for twelve months at the Madison Square Theatre, and 
afterwards in almost every city in thle Union. In 1890 I retired from 
the stage, and for five succeeding years was a confirmed invalidi 
never dreaming that I should ever be able to play again. But in 
1895 I accepted an offer from Mr. Hilliard for the character part, 
Mrs. Churchill, in 'Lost-Twenty-Four Hours/ I have also appeared 
with Mrs. Fiske in Tess of the d'Urbervilles,' and at present I 
am playing the amorous widow in 'Love Finds the Way.' ' 

MRS. SARAH A. BAKER, so frequently seen here with T. W. 
Keene, died in the Forrest Home, 1st Sept., 1899. She was the old- 
est actress in America, having been born in Philadelphia in 1818. 
Her first stage appearance was at the Walnut Street Theatre De- 
cember 15, 1832, as Virginia. Her second regular season was played 
at W. E. Burton's theatre, and among her associates was Charlotte 
Cushman. In March, 1853, Mrs. Baker was married to J. S. Baker, 
an actor. Mrs. Baker's last appearance as a member of a stock 
company was in Philadelphia during the Centennial. Since that time 

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THOMAS W. KEEXE (Hamlet). 

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she has been attached to various combinations, and travelled all 
over the country. Mr. Baker died in Atlanta, Ga., in 1864. Mrs. 
Baker joined Keene's forces at the outset of that actor's starring 
career, he promising that she should continue with him as long as 
she cared to, after which she could retire a member of his family. 
The tender care which the old lady received up to the time of 
Mr. Keene's death in 1898, was the constant subject of the veteran 
actress's conversation. In 1887 she celebrated the fiftieth aniversary 
of her debut. 

^ THOMAS WALULCE KEENE probably did more to popular- 
ize Shakespeare in America than any other actor. He went about 
with "his wild harp strung behind him 1 ' like the minstrels and historians 
of old carrying th* echoes of Shakespeare into the fastnesses of the 
wilderness; he sang in caves, and waved his garish banner through 
the darkness. Mr. Keene rose from the foundation of dramatic 
apprenticeship to be recognized as a competent impersonator of 
characters so complex and elevated as Gloster and Othello. He 
was not a genius, but he was a diligent and ambitious man of alert 
intellect, who had mastered the technical difficulties of his profes- 
sion, and used its symbols in such a way as to make his conception 
of a part perfectly clear to a miscellaneous audience. In San Fran- 
cisco I have heard of an audience turning from McCullough, and 
rise to its feet in wild cheers for Keene, because of the splendor of 
his voice and the tremendous fire and magnetism of the man. His 
art lacked the last degree of refinement, but all his faults accumulat- 
ed were most forgivable. To Mr. Keene I owe many moments of 
artistic qualification at the theatre, and I should like to add one 
immortelle to the wreath that will preserve the memory of a robust 
and conscientious actor of truly manly qualities. The tragedian was 
born in New York city, 26th Oct., 1840. It was with J. H. Hackett 
that he secured his first regular engagement in 1863, and he was emi- 
nently successful from the outset. At Marylebone, he opened the 
theatre, where Charlotte Cushman, the Wallacks, Mrs. Mowatt and E. 
L. Davenport achieved their successes, and was himself spoken of in 
the most favorable manner by press and public Early in life Mr. Keene 
married Margaret Creighton, by whom he had two children, Agnes 
and Claude, the former being Mrs. Edwin Arden. After a brilliant 
career in the support of the first stars of the day, Keene himself was 
firmly placed in the stellar firmament by W. S. Cole in 1880. Season 
after season this actor crossed and recrossed the continent. He had 
a large and loyal following of admiiters, who .ranked t«he name of 
Keene only after that of Booth, and for eighteen years these tours 
invariably yielded profit. He had played Richard 2,525 times. Nature 
had peculiarly fitted him for that character, he having that quick, 
nervous impetuosity of manner and mobility of countenance so ne- 
cessary to simulate the swiftly changing emotions of the crafty mon- 
arch. In later years he had also given a truly great performance of 

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Louis XL, in which characterization he was aided by advancing years, 
Mr. Keene, or rather Thomas R. Eagleson, for that was his original 
name, died at his home, at Castleton Corners, S.I., ist June, i8q8. 
His last appearance on the stage had been at Hamilton, Ont, 23rd 
May, as Richelieu. It was there that the actor was striken. Then 
fell a rugged oak, over whose prostrate trunk the sunshine was 
gleaming broadly through the vista of a beautiful life. 

"Strive to remember that the realisation is very oft a bitter disappoint- 
ment, and that the expectation is the buoyant hope which is part and 
parcel of happiness."— Thos. W. Keene. 


was theatrically summoned in with sweet symphonies by the 
Emma Abbott Opera Co., January 1, for week; Haverly's 
Minstrels, week 8th; Eugenie Le Grand, in "Camille," "Lady 
of Lyons," and "Black Sheep," week 15th. This was a very 
feeble effort, and did not receive much encouragement. Louis 
Aldrich and Chas. T. Parsloe, Jr., came carnival week in 
"My Partner," from 22nd January. Montreal's first Carnival 
began on that date. Jeffreys Lewis and J. Newton Gotthold 
followed in Belasco's "La Belle Cerisse," week 29th. Collier 
and Rice's "Iolanthe" Co. sang week 5th February; Willie 
Edouin, in "Dreams," and "A Bunch of Keys," week 12th ; Ella 
Stockton, in a dramatization of Black's "Madcap Violet," week 
19th; Salsbury's Troubadours, in "Greenroom Fun," four 
nights from 26th; C. B. Bishop, in "Strictly Business," week 
6th March ; and the second appearance of T. W. Keene, week 
1 2th, in Shakespearean repertory. Charles Wyndham, sup- 
ported by Miss Kate Rorke (Mrs. Gardiner), and the Cri- 
terion Theatre Company of London, England, made his 
Montreal debut, week 26th March, in "Brighton," and "Four- 
teen Days.'' The Hanlon Bros., in "Voyage en Suisse," 
came for four nights, 2nd April, followed by the first appear- 
ance here of the celebrated "Jersey Lily," Mrs. Langtry, week 
6th April, in "An Unequal Match." She appeared in "Pyg- 
malion and Galatea" at the matinee, and closed in "As You 
Like It.'' Mr. and Mrs. Florence were seen in "The Mighty 
Dollar," and "Ticket-of-Leave Man/' four nights from 18th 
April; Collier and Rice's "Iolanthe," week 23rd; Mr. Grau's 
French Opera Company, 30th, for nine nights; Barlow, Wil- 
son, Primrose and West's Minstrels, three nights from 10th 
May; Boston Ideal Opera Company, three nights from 16th; 
C. W. Couldock, E. J. Buckley and W. H. Crompton, in 
"Hazel Kirke," week 23rd; Raymond in "Paradise," week 

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29th; and J. K. Emmett, in "Fritz in Ireland," week 5th June, 
which closed the season until 14th October, when W. H. Ly- 
tell came in " Around the World " and " The White Slave/' 
followed by the Italian Opera Company week 20th and 27th 
with Sig. Brignoli. "Romany Rye" was produced 3rd Sep- 
tember ; Grau's English Opera Company, week of 1 ith ; Shook 
& Collier's "Lights o' London," week 17th; Baker and Far- 
ron, week 22nd; Joseph Murphy, in "Kerry Gow/' week 2nd 
October; Lytell's "Galley Slave," week 8th; and on 15th was 
produced, for first time here, "The Silver King," with the 
following principals in the cast : Wilfred Denver, Carl A. Has- 
win; Nellie Denver, Etelka Wardell; Spider, William Morris; 
Eliah Combe, Perkins Fisher; Jakes, Harry Rich. "Young 
Mrs. Winthrop" followed, 22nd, for week; Lily Langtry, in 
"School for Scandal" and "She Stoops to Conquer," week 
29th; Rhea, in "Adrienne," "Frou Frou," "An Equal Match" 
and "Richelieu's Wager/' four nights from 12th; Her Majes- 
ty's Colored Minstrels, week 19th; "7-20-8," week 6th Decem- 
ber; and Etelka Gerster, week 10th, with Patterson's New 
York Opera Company in Strauss' "Queen's Lace Handker- 
chief." Richard Mansfield made his initial bow here week 
17th December in "A Parisian Romance." Cast of charac- 
ters : Baron Chevrial, Richard Mansfield; Henri de Targy, 
Leonaird S. Outram; Dr. Chesncl, H. B. Phillips; M. Tirandel, 
Clinton Stuart; Signor Juliani, F. de Vernon; M. Laubaniere, 
Harold Russell ; M. Vaumartin, W. F. Blande ; Ambroise, F. 
Sullivan; Pierre, T. Barrett; Marcellc De Tar gay, Miss May 
Brookyn; Madame De Targay, Mrs. Sol Smith, jun. ; Baroness 
Chevrial, Mrs. Chas. Watson; Madame De Valmery, Miss 
Mary R. Perkins; Madame De Luce, Miss Helen Windsor; 
Maria, Miss Jessie Glassford; Gillette /., Miss M. Barbour; 
Gillette II., Miss E. S. Tarr; Bertholdi, Miss Nellie Whiting; 
Rosa Gucrin, Miss Isabelle Evesson. Her Majesty's Opera 
Co., with Etelka Gerster, came week 24th December, closing 
the year. 

ETELKA GERSTER was born at Kaschau, in Hungary, on 
June 16, 1857. She studied singing with Madame Marchesi, from 
1873-76. She made her debut at Venice in Rigoletto with pronounced 
success. She next appeared in Berlin and created a furore. 
After becoming famous in all the large cities of Europe, she came 
to America in 1878, and was hailed as a second Jenny Lind. She 
lost her voice some years ago and retired to private life. 

J. NEWTON GOTTHOLD (born Isaac Gotthold), was a good 
actor, and at one time starred in the legitimate. He died in 1888. 

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CHARLES w xii if HAM is one of England* s best comedians, 
but is of American birth (1839), and his first stage appearance was 
on the boards of the Olympic Theatre, New York city, in 1861. 
During the Civil War he acted as a surgeon in the South, and in 1866 
he made his first London appearance- He has paid us several visits, 
and his career has, up to the present, been a most satisfactory one. 
His David Garrick is quite popular, and among his most recent 
successes was his production of "Rosemary." 

RICHARD MANSFIELD (Rudersdorff) is one of two sons of 
the late Erminia Rudersdorff, a famous singer, who came here from 
Europe about' 1869. He was born in Heligoland, 24th May, 1857. 
His father was an Englishman of culture. He inherited from his 
gifted mother the nervous and delicate temperament of the true 
artist. Much of his earlier life was passed in Boston, Mass., where 
he was carefully educated, and where, for a time, he was employed 
variously in commercial pursuits in journalism, etc. He then visit- 
ed Europe and travelled considerably. Long before he had decided 
on adopting the stage as a profession, he was persona grata at the 
pleasant evening meetings of the Savage Club, in London, from 
his skill both as a vocalist and musician, and as a clever imitator 
of most of the well-known actors. His natural bent at last asserted 
itself, and he joined the German Reeds, and subsequently played 
with success at some of the principal London theatres, doing Sir 
Joseph in "Pinafore" among other roles. He soon determined to 
visit America, and made his debut in his native land, Sept. 26, 1879, as 
Dromez in "Les Manteaux Noirs" at the (old) Standard theatre, 
New York. His subsequent career hardly needs recalling. It may 
be said briefly, however, that he soon joined the Union Square 
theatre stock, and that, after a round of unimportant roles, he 
found one that revealed his real power in the Baron Chevrial of "A 
Parisian Romance." His creation of that character for American 
play-goers (1883) gave him instant and wide recognition as an actor 
of deep intelligence and singular power. His earlier starring tours 
(preceded by versatile work in light opera and serious drama) netted 
him much profit, and the esteem entertained for him by Irving led 
directly to his last English engagement (1888), when he produced 
"Richard III," in grand effect, also producing that nightmare, "Dr. 
Jekyl and Mr. Hyde." The actor's production of Clyde Fitch's drama- 
tization of "Beau Brummer' has been in every sense successful. 
His Richard has some clever bits in it, and is acknowledged to be 
superior to his Shylock. Mr. Mansfield is married to Beatrice Cam. 
eron (Susan Hageman), formerly his leading lady. Mansfield is the 
very type of man about whom long eulogies will be written when he 
is dead. His versatility will be pointed to as one of the most re- 
markable attributes of a marvellous capacity for projecting himself in- 
to the character of others. The dual role of sharpest contrast* in Jekyl 

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and Hyde, the pink of perfection Beau Brummel, the dashing Prince 
Karl, the wicked old Baron Chevrial, the matter of fact Bluntschli— 
that one man should have gained a distinction in all of these that 
inseparably links his name with each will serve as the capsheaf to 
his fame. He sings well, speaks six languages with fluency, exclus- 
ive of that which he uses when the rattling of steam pipes irritates 
him and leading women are an aggravation, plays on a dozen in- 
struments, can dance well when necessary, and is capable of a range 
of acting from the highest emotional to the comicaly grotesque. Sev- 
eral years ago he announced his ambition to have a theatre in New 
York. "I feel sure," he said, "the moment I have a theatre of my 
own, my difficulties will disappear from my path." His ambition was 
realized. In the Garrick he possessed one of the prettiest play- 
houses in the metropolis ; but troubles thickened on his pathwa> 
instead of disappearing from it, and after less than a year's ten- 
ancy the management of the Garrick was handed over to Charles 
Frohman. Mansfield has since toured the country, presenting his 
various characterizations of human monstrosities, including that of 
Cyrano de Bergerac. His most recent effort was "Henry V.," a really 
praiseworthy production. 


the best advertised actress of the century, is the daughter of Dean 
W. C. Le Breton, an Episcopalian clergyman of St. Heliers, where 
she was born in 1854. She first met Edward Langtry in 1873. He 
was then a gay young widower. His father, although a Quaker 
of orthodox principles, was not averse to the enjoyment of life by 
his son, and when the latter came of age he settled a fortune upon 
him, bought him a yacht and sent him off to enter the lists at Cowes. 
It is said that on his way thither his yacht was driven out of her 
course by stress of weather, and the young sailor found himself one 
stormy night among the Channel Islands. He made the harbor of St. 
Heliers safely, and went ashore until the storm should abate. He 
was invited to the deanery by Dean Le Breton, the most important 
man on the Island of Jersey, and was asked to remain at his house 
instead of at the inn. The dean introduced him to his two beautiful 
daughters, and before Mr. Langtry left the island he was betrothed 
to one of them. After a courtship of five months they were wedded, 
her father officiating in his own beautiful church of St Saviour's. 
The ceremony was performed 12th March, 1874, at the rather unusual 
hour of 3 a. m. After living on the Island of Jersey for some years, 
they removed to Southampton; but the wife, leaning instinctively to- 
ward the glitter of smart society, induced her husband to take a hand- 
some house near Belgrave square, and they began to entertain. The 
time was short before she developed into a woman of extreme fashion, 
and the fame of her beauty spread. It reached the ears of John 
Millais, a painter, subsequently baroneted at the recommendation 

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of Mr. Gladstone for the excellence of his art. Mr. Millais sought 
the beauty, and the following spring, at the Royal Academy, exhib- 
ited a portrait, which he had labelled "A Jersey Lily." The label 
stuck. All London went to see that picture, asked who was the 
original, learned that it was Mrs. Edward Langtry, and the fame 
of the Jtrsey Lily began. The Prince of Wales saw the face, craved 
an introduction, and from that time until the crash that followed 
Mrs. Langtry was the most conspicuous figure in London's social 
whirl. At Grosvenor House, at a dance given by the Duchess of 
Westminster, she stood in the centre of the great reception room, 
hated by every peeress that was there ; hated, it may be, by the 
duchess herself, but radiating loveliness, unapproachable, semi-circled 
by four men, of whom one was a crown prince and the other three 
were kings. When supper was served it was at the royal table that 
she sat. The honor— for such it is regarded — was unprecedented. 
But so, too, was her success. That night her first ambition was 
achieved. Meanwhile there had come another. To be properly ad- 
mired a woman must be properly frocked. To go to dances means 
traps. To be entertained means entertaining, and by the same token 
to be Queen of Mayfair means coin. Given a few years in Belgravia 
a man can squander an earldon — a woman can squander two. Mr. 
Langtry was in what is called comfortable circumstances — for the 
reason, perhaps, that they lie between the devil and the deep blue 
sea. Expenses became such that when Mr. Langtry was not inter- 
viewing the one he was up to his neck in the other. It was at this 
juncture that Mrs. Langtry took matters in hand. She had con- 
quered one world — she determined to conquer another. After soc- 
iety, finance. With a business tact that has since developed into- 
genius the Lily went on the stage, and, with an appropriateness which, 
when you consider it, is delightful, appeared in "She Stoops to 
Conquer." That event occurred on December 15, 1881. In the 
autumn following she came to this country under the guidance and 
management of the late Henry E. Abbey. But a few hours before 
the time set for her first appearance, on the night of October 30, 
1882, the Park Theatre, at Broadway, near Twenty-Second street, 
burned to the ground. At 6 o'clock that evening love and money 
could not have bought a stall. At 7 the theatre was on fire. By 9, 
it was glowing embers and circling smoke — in short, a brilliant ad- 
vertisement. She appeared at Wallack's, 6th Nov., instead. The 
house, packed to the doors, admired her gowns, but not her art. 
and it would have been difficult for the house to have done so. She- 
had none. Splendid in beauty, artistically she was null. Her charm- 
was that of the gentlewoman. It belonged to the drawing-room, not 
to the stage. But Mrs. Langtry had not stooped to conquer for 
nothing. If artistically she failed, commercially she succeeded. Ta 
express it discreetly, she allowed herself to be insulted into fame. 
She owed her debut on the stage to Mrs. Henry Labouchere, who 

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was herself an actress, and to Marie Wilton, now Lady Bancroft. 
What her profits were she and her business manager alone could 
state. That, however, is a side issue. Such results as she achieved 
in this country she is reported to have accentuated abroad, but 
ultimately less through the box office than through the stable. And 
now the plot thickens. In 1882 Freddie Gebhard came into her life, 
and a memorable sleigh-ride was had one night after the play, and 
her chaperone, Mrs. Labouchere, went home in anger and confusion. 
Gebhard's subsequent successes on the turf are said to be due very 
largely to her advice. Then there was Sir Robert Peel, and Squire 
Abingdom Baird, the latter having been accused by Mrs. Langtry of 
having beaten her on more than one occasion. Baird alone, it is 
said, spent $500,000 on her. There was a story that the entire Marl- 
borough family cut the Lily because in a playful mood she had slip- 
ped a piece of ice down the Prince's collar at a late and merry 
supper. From time to time she came again into the zone of gossip, 
and Sir George Chetwyn, he who was in a measure responsible for 
her original social introduction, had a first fight with the Marquis 
of Lonsdale over her. She was also coupled with Lord Rosslyn in 
a brief scandal. Numberless other men worshipped at her shrine, 
but "met with no success. She was busy with the rich, who would 
dare anything for her, and the minor devotees failed in all things. It 
was Lord Rosslyn, to whom she owed her introduction to racing; 
he being her first racing partner. His money, however, soon gave 
out, and his entire string of horses passed into her possession, 
constituting the nucleus of what has since become one of the best 
known and most successful racing stables in England, its fair owner 
racing under the name of "Mr. Jersey." Lord Shrewsbury succeeded 
Lord Rosslyn as her racing partner, but they have since parted 
company, and the Lily is now alone on the turf. All over the United 
States she owns lands, and her name appears on the tax rolls of 
many Western States. After society, finance. After finance re- 
habilation. In that already the turf had been serviceable. On one 
ot its green intervals shle encountered Prince Esterhazy, an Hungarian 
and a great sportsman, incidentally a great noble, a descendant of 
Attila, who, where he passed, left the earth forever bare. And now 
the plot grows thicker. Her first attempt at divorce was in vain, 
but she made another and yet another, finally succeeding in a Cali- 
fornia court, May 14, 1897. Edward Langtry died in the Chester 
Lunatic Asylum, 15th October, 1897, while Mrs. Langtry was enter- 
taining a select party of sporting friends at dinner at the Savoy 
House. They were celebrating her winning $200,000 in bets on her 
horse Merman, which won the Cesarewitch stakes. "A beautiful 
woman," said Epictetus, "is a disaster." And Epictetus, who was 
seldom wrong, was right. There is something in the gift of beauty 
which — speaking historically — renders the recipient perverse. And 
yet, who shall blame them. The divine cannot mate with mere man. 

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Edward Langtry was an Ulsterman and 52 years of age. He was 
the son of a wealthy shipping merchant, who was for a long time 
agent of the Guion Steamship line at Belfast, and a member of 
the Society of Friends. For some years back Edward Langtry had 
displayed unmistakable signs of the life of dissipation he had led. 
Originally he was good looking and gentlemanly. Many idle* con- 
jectures as to who would be his successor were dispelled by the an- 
nouncement of the Lily's marriage, 27th July, 1899, to Hugo Gerald 
de Bathe, 28 years of age, the eldest son of Sir Henry Percival de 
Bathe, Bart., a retired general and Crimean veteran. The ceremony 
was private, the only witness being Mrs. Langtry's daughter. The 
Prince of Wales is said to have been in the confidence of the pair, 
and he sent them a telegram of congratulations. It is understood 
that young de Bathe was greatly shocked when he discovered that 
his wife was in the habit of mildly flirting with men friends. He 
had gathered, it is said, that she was the pink of propriety — in fact, 
she had told him so herself. The awakening came, and the callow 
youngster, who believed himself the object of a grand passion, 
had his hands held by his friends while he slept all night with ice on 
his head and gazed blankly into vacancy, pondering on what might 
have been. Sir Henry Percival de Bathe, the irate father of Mrs. 
Langtry's bridegroom, is a crusty old soldier. It is said that when 
the youth married he had his son's effects thrown out of the 
windows by servants. Then he went to his lawyers and made a 
new will, leaving out all reference in it to Hugo. It is asserted that 
after signing it he exclaimed : "I almost wish that I would die 
right now so that the will would take effect." Apparently young 
de Bathe lost not only his fortune, but his wife, and wishing to 
revenge himself on some one, proceeded to Africa to assist in the 
capture of Oom PauL Mrs. Langtry returned to the stage 1st 
September, 1899, producing 'The Degenerates" of the Haymarket 
Theatre in the presence of a fashionable audience, all on the qui 
vive to know how far she and Sydney Grundy, the author of the 
drama, had dared to go in depicting the incidents of her past 
From London she came to New York, opening at the Garden 
Theatre, 15th January, 1900. The general verdict was that she 
had never acted better, that her beauty had worn splendidly, and 
that her dresses and jewels were superb. The Philadelphia press 
showed no courtesy in its reception, the dignitaries at the Capitol 
turned her down and throughout her reception was "frosty." Mrs. 
Langtry de Bathe appeared at Her Majesty's Theatre here, 17th 
May, for three nights, and matinee, and then returned to England. 

MART JEFFREYS I-EWIS. Few actresses have filled the 
position of leading lady in a metropolitan stock company before they 
were out of their teens. Jeffreys Lewis is among the few who 
have had such an honor thrust upon them. Lester Wallack saw her 

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play Esmeralda in "Notre Dame" at the Fourteenth Street Theatre, 
and without hesitation offered her the opportunity of playing the 
leading female roles in the famous Wallack Stock company, then 
performing at the theatre known to-day as the Star. Recently 
Jeffreys Lewis was playing Cassy in "Uncle Tom's Cabin" at the 
Star— on the same stage where twenty years ago her beauty and 
histrionic achievements were the talk of the town. Miss Lewis was 
born in Wales, England. She came to America with T. C. King* 
Following Wallack, she was with Daly's company. About that time 
she married Mr. Mainhall, and played an engagement in Australia. 
Returning to America she starred in the emotional drama. Lately 
Miss Lewis appeared with Stuart Robson. 


were opened by Harry Lacy in Tillotson's "The Planter's 
Wife," from 31st December, followed by "The Power of 
Money, ,, week 7th January; Kate Claxton and Chas. A. Stev- 
enson, in 'The Sea of Ice," week 22nd; Aimee, in Mr. Grau's 
Opera Company, week 29th; J. T. Raymond, in "Paradise'' 
and "Col. Sellars," 6th February for four nights; T. W. Keene, 
week of 18th, in Shakespearean repertoire, including "Julius 
Caesar" and "Macbeth"; Wilbur Opera Company, 25th, 26th; 
Salsbury's Troubadours for balance of week; Rice's "Surprise 
Party/' week 3rd March; and Lytton Sothern in "Dundreary," 
"A Regular Fix," "Brother Sam" and "David Garrick" made 
his debut here 10th March. Edwin F. Thorne, in "The Black 
Flag," was the next attraction, week 17th; Mr. and Mrs. Flor- 
ence, in "Facts'' and "The Mighty Dollar," week 14th; "The 
Devil's Auction," week 21st; Calendar's Minstrels, 28th, 29th 
and 30th, with whom appeared Billy Kersands; "In the 
Ranks," came week 12th May; "The Stranglers of Paris," 
week 19th; and Hanlon's "Voyage en Suisse," week 26th, 
closing the season, which reopened 1st September with 
"Lights o> London," and Mr. and Mrs. W. A. Mestayer in 
"The Tourists,'* 8th. "Romany Rye," week 16th, was fol- 
lowed by Salsbury's Troubadours, week 22nd. Hentry Irving 
and Ellen Terry, supported by Wm. Terriss and the Lyceum 
Theatre Company, of London, made their first bow to a 
Montreal audience, 1st October, in "The Merchant of Ven- 
ice." "Much Ado About Nothing," "Hamlet" and "Louis 
XL," appearing four* nights. This was the event of the sea- 
son! and a large business was done. Lillian Lewis, in "Only 
a Farmer's Daughter." came week 6th October. Roland 
Reed, in "Cheek" and "Humbug," made his stellar debut here 

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week beginning 13th October. The Boston Museum Co. 
came 20th October for week, in 'The Rivals," "Angel of 
Midnight," "A Scrap of Paper/' "Inquisitive Donkey/' "She 
Stoops to Conquer," "London Assurance" and "The Poor 
Gentleman." The principals were Charles Barron, Mrs. Vin- 
cent and Annie Clarke. Cast of "The Rivals :" Sir Anthony 
Absolute, Alfred Hudson; Mrs. Malaprop, Mrs. Vincent; Capt. 
Absolute, Charles Barron ; Lydia, Annie Clarke ; Bob Acres, 
George W. Wilson; Sir Lucius O'Trigger, George R. Parks; 
Faulkland, A. R. Wytal; David, James Nolan; Julia, Elizabeth 
Robins; Lucy, Miss O'Leary. Charles Kent was also with 
the company. Barry and Fay, in "All Crazy," 27th, for three 
nights; Rhea balance of week; Jos. Murphy, in "Kerry Gow" 
and "Shaun Rhine/' week jrd November; "The Private Sec- 
retary/' week 10th; James M. Hardie, in "Ivanhoff," 17th for 
week ; Mr. and Mrs. Florence, in "The Mighty Dollar" and 
"Our Governor," week 24th; and the great Adelaide Ristori, 
for the first time in Montreal, played in English in " Mari« 
Antoinette," nth December; "Elizabeth," 12th; "Marie 
Stuart," matinee of 13th; her engagement closing in "Mac- 
beth." Within as many years Montreal saw Italy's three 
great living artists — Salvini, Rossi and Ristori. One is now 
no more; the others in retirement. The next attraction was 
"Storm Beaten," week of 15th December, and "7-20-8" closed 
the year. 

CHARLES BARRON (nee Brown) was born in Boston in 1838, 
and made his first stage appearance at the Athenaeum as Huguet. 
For a period of nearly twenty-five years Mr. Barron cast his for- 
tunes with Wm. Warren at the Boston Museum, playing leading 
business in company with Miss Annie Clarke. On the death of Mr. 
Warren in 1888, Mr. Barron went in support of the then new star, 
Miss Julia Marlowe. His talent is of the finest order, and his 
elocution is remarkably fine. He plays Shakespeare's heroes of 
tragedy, and were it not for his modesty Mr. Barron would be known 
as a great actor. 

MRS. HART ANN VINCENT, known also as Mrs. Wilson, 
made her debut in England in 1832. Her work was always in stock 
companies. She was an intelligent actress, a true and sympathizing 
friend, and known in Boston as the mother of actors and actresses. 
She died in Boston 4th Sept., 1887. 

ULUAN IiEWIS came of good Kentucky stock. She was 
married in 1879 to Julian J. Lewis, but they separated in 1884, when 
Mrs. Lewis went on the stage, first appearing on the stage as the 

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Queen in "Zozo." She then starred in "As in a Looking Glass" and 
"Donna Sol,'* and also toured in Sardou's "Odette," in which play 
a new act was written for her, that she might display her cleverness 
with the rapier. She was also seen in "L' Article 47," and "Cleo- 
patra." In private life she was Mrs. Lawrence Marston, wife of 
the playwright, and author of "Therese Raquin," "Lady Lil," and 
"For Liberty and Love," a play written on the sympathies of Cuba, 
in which Mrs. Marston starred with indifferent success. She died 
12th Aug., 1899. 

ROLAND REED can be said to have been virtually born on the 
stage at Philadelphia, 18th June, 1852, his first appearance on the 
boards having been when six months old. The infantile Reed was 
stage-door tender at the Walnut, and usher and call-boy at the Arch 
before he again came before the footlights. "I was promoted to 
prompter," he has said of his life in those days, "and used to read 
the plays to the actors, standing beside Mrs. Drew, who corrected me 
when I made mistakes. While I was still call-boy Lotta came to 
play her first star engagement in Philadelphia. One day 'Bob* Craig, 
the comedian, fell ill, and I sang the songs with Lotta, and made a 
hit. Then I applied for the position of comedian for the next season, 
but Mrs. Drew had already engaged another. I left the Arch, my 
father exclaiming 'My boy, you've ruinfcd yourself.'* Reed then 
shifted to the Walnut, where he scored his first pronounced success 
as the Jew in "The World." After that he starred in Mardsden's 
"Cheek" and "Humbug," and in 1887 produced "Lend Me Your 
Wife," an adaptation from the farce which formed the basis for 
"Jane." His work in "The Club Friend." "Innocent as a Lamb." 
"The Politician" and "The Wrong Mr. Wright " is well known to 
play-goers. In 1885 he created, in Chicago, the character of Ko-Ko 
in "The Mikado." It was one of the most humorous portrayals of 
Gilbert's executioner ever seen. He died 30th March, 1901. 

LTTTON EDWARD SOTHERN, eldest son of E. A. Sothern, 
died in London, Eng., March 11, 1887. He was born in this country 
June 27, 1856, and went on the stage as a child, appearing, billed as 
Master Sothern, in his father's company, about 1862. Probably his 
first part of prominence was Capt. Vernon in "Our American 
Cousin," July 24, 1872, in London, Eng. September 16 following 
he played Bertie in "Home" at the Walnut Street theatre, Phila- 
delphia. About 1878 he began to star in Australia, and after his 
father's death he toured England in the latter's repertory. In the 
fall of 1883 he came to America, appearing here as Dundreary, Sam, 
Garrick, etc., and returning to Engand during 1884. Eva is his 
sister, and Edward H. and Sam. Sothern are his brothers. 

ADELAIDE RISTORI was born at Friuli in 182 1. She was the 
child of strolling players, and her grandmother, Teresa Ristori, 

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was her first instructress. Her first appearance on the stage was 
when she was but two months old. Her regular debut was as 
Francesco di Rimini in 1835, after which she joined the Royal Sar- 
dinian Company, where Carlotta Marchioni, perceiving the genius 
of the young Adelaide, trained her as her successor in the leading 
parts. A romantic love affair, followed by her marriage in 1847 
with the young Marquis del Grillo, caused Ristori to relinquish her 
profession until >he objections of her "hubby" were overcome, when 
she returned to the stage. In 1851 she went to Paris, where, de- 
spite the fact that Rachel was then in her zenith, her genius con- 
quered, nor was she less successful in England in 1858. Fresh 
laurels were gained in every European capital from Moscow to 
Dublin, and from Egypt to Constantinople. After her first visit 
to America she returned to England in 1873, and since that time 
twice revisited America, visiting thirty cities on her last visit in 
1886, without any diminution of her powfcrs of pleasing the cultured 

MISS VAUOHAN was born Teresa Ott, and her early years 
were passed at the Highlands, Boston, Mass. There she sang in 
the choir of one of the Catholic churches, and we believe occasion, 
ally appeared in concerts. As a graceful actress and cultivated 
singer she has acquired an unenviable reputation. She married Wm. 
A. Mestayer, the comedian, who died 21st November, 1896, aged 

WTLLTAM TERRISS (real name William Charles James Lewin), 
was born in London, 20th February, 1847, and came of an excellent 
family belonging to the Earl of Zetland's family, and was the son 
of an English barrister and nephew of George Grote, the historian. 
He commenced life in the Royal Navy, became a banker's clerk, 
then went into the wine trade, from which he sought relief as a 
practical engineer in the great Penn workshops. His next exper- 
ience was on an Indian tea plantation, and finally he reached the 
stage at the age of twenty years, making his first appearance in 1870 
at a provincial theatre at eighteen shillings a week. His next move 
was to Kentucky (1873), where he engaged with Percy Tattersall 
in the horse breeding business, the net result of which was a return 
home in the steerage of a ship. After a short interval on the stage 
at Drury Lane, he took to sheep farming on the Falkland Islands. 
This soon gave out, and so he returned home and to the stage once 
more. His first hit was under the management of John Hare at 
the Court in "Olivia" as Squire ThornhUL After a varied experience 
at the London theatres, he settled down under Henry Irving. When 
the French melodrama of "Roger la Honte" was translated, Terriss 
undertook to star in this country, and began his tour at Niblo's, 
New York city, in the fall of 1889. When Irving revisited us in the 

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season of 1893-94, Terriss came with him, appearing as Henry II. in 
Tennyson's "Becket," and was Thornhill in a revival of "The Vicar 
of Wakefield." Once back in London, he resumed his position 
as leading man at the Adelphi, and remained there continuously 
since that time, although he occasionally appeared in productions 
at other theatres. When Gillette and his American company con- 
cluded their London engagement at the Adelphi in "Secret Ser- 
vice," and an English cast was put into the melodrama, Terriss 
succeeded Gillette as Dumont, the spy. Of his work, I always 
regarded Henry II. in "Becket" as his best portrayal, although he 
had no superior of contemporary activity in the roles of Bassanio, 
Nemours, and Cromwell in "Charles I." Born William Lewin, he 
adopted "Terriss" as nom-de-theatre, because of its similarity to 
Terry, he being a great admirer of the actress. Mr. Terriss was 
assassinated 16th Dec, 1897, being stabbed as he was entering the 
stage door of the Adelphi theatre for the performance of " Secret 
SerVice." His assassin was a mad supernumerary. 

ELLEN ALICE TERRY was born at Coventry on February 27, 
1848. She made her first appearance on the stage at the Princess 
theatre under Charles Kean's regime, April 28, 1856, playing a child's 
part, that of Namillius in "The Winter's Tale." In 1858 she appear- 
ed at the Princess as Arthur in the second revival of "King John." 
It was not until March, 1863, that she made what might be termed 
her real professional debut, when she played the part of Gertrude 
in "The Little Treasure" at the Haymarket theatre. On October 24, 
1867, she was cast for the part of Rose de Beaurepaire in " The Double 
Marriage" on the opening of the New Queen's theatre in London. 
After that she lived in retirement till 1874, making her reappear- 
ance on February 28 of that year at the Queen's theatre as 
Philippa Chester in "The Wandering Heir." In April, 1875, she 
made a great hit as Portia in the revival of "The Merchant of 
Venice" at the Prince of Wales' theatre, and subsequently played 
Clara Douglas in "Money," Pauline in "The Lady of Lyons," Mabel 
Vane in "Masksand Faces," etaoln hrdlu shrdlu ehrdlu hrdluu 
theatre. In 1875 she joined the company of the Royal Court 
theatre, and appeared there in November in a revival of "New Men 
and Old Acres." At the same theatre, on March 30, 1878, she acted 
the title role of Olivia in Will's dramatization of the "Vicar of Wake- 
field." On December 30, 1878, she appeared in Ophelia to Irving^ 
Hamlet on the opening night of the Lyceum theatre under Irving's 
management, and has since shared in all his triumphs and few fail- 
ures. She has also accompanied the great actor in all his American 
tours. During the last Montreal engagement, however, illness pre- 
vented her appearance in this city. Ellen Terry has thrice been mar- 
ried (Watts, Craig and Kelly-Wardell), and her son and daughter 
Gordon and Ailsa Craig, have also appeared on the stage. Al 


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though greatly gifted, Ellen Terry never permits her art to over- 
shadow the * enchantment of a winning personality; and yet so 
cleverly are the two elements blended, that while one is conscious of 
the complete sinking of the woman in whatever character she 
depicts, the depiction takes on a new grace because there is Ellen 
Terry behind it. The dominant note in Miss Terry's stage presence 
is ease, and yet her memory is very treacherous. One of the many 
things for which she will be remembered is her perennial youth- 
fulness, for, like Swedehborg's fabled angels, she seems to become* 
more winsome as time creeps in its pace from day to day. 

SIB HENRY IRVING (John Henry Brodribb) was born 6th 
Feb., 1838, at Keinton, near Glastonbury, England. The history of the 
eminent actor's later years is too well known to the English-speaking 
world to need more than a passing notice, and, like most other men 
who have attained success, the chief interest in his life lies in its 
beginning, and in the romance that surrounds the opening of his 
career. Irving's father, Samuel Brodribb, took to wife Mary 
Behenna, a woman of considerable personal beauty and of a very 
sweet disposition. The actor's childish days were spent principally 
with an aunt at Helston, near the Lizard Point. The future actor 
was still a child in years when the monetary exigencies of his family 
forced him into a clerkship with a firm of booksellers, and he found 
himself earning his own living in a congenial way. His access to 
standard works and all the best new books fostered his studious 
disposition, while his evenings were free for worship at theatrical 
shrines. When he was 17 his employers wished to send him out 
to their branch establishment in Bombay, but by that time the youth 
had cast the die of his life in favor of the stage, and he declined 
the offer. Two years later he made the plunge, left his desk and 
trod the boards, from which rumor has it that he was hissed. If so, 
it was the Disraeli incident over again. For nine years Henry 
Irving worked " in the provinces," founding life-long friendships, 
gaining a measure of popularity in Edinburgh, Glasgow, Manchester 
and Liverpool, but always struggling to attain London, the actor's 
Mecca. The chance came at last, in 1856, when he was engaged to 
support Kate Terry in Boucicault's "Hunted Down/' in which he 
acted so well that a London appearance followed. At the Gaiety, 
Drtiry Lane, the St. James' and the Haymarket he acted a long 
round of characters, generally being cast for the villain, who, in 
those days, was a necessity in every play. During 1869, Irving 
married Florence, daughter of Daniel J. O'Callaghan, a surgeon, 
general of the Indian Army. In 1870 he created Digby Grant in 
"The Two Roses." His performance aroused interest and curiosity 
respecting the "new actor." He next moved to the Lyceum, then 
under Colonel Bateman, and here his Mathias in "The Bells," played 
triumphantly to an audience that was at first languid, clinched the 

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matter forever. The morning after that memorable first nigjit, 
after fifteen years of heart-breaking labor, Henry Irving woke to 
find himself famous. From that hour he has never looked back, and 
fame and fortune have keep pace with him. Colonel Bateman was 
sufficiently astute to turn the temporary engagement into a per- 
mancy. Then came a series of Shakespearean efforts, with more or 
less applause, but it was in character work of a heavy nature that 
brought the actor to the front, notably in Louis, Mephisto, Shylock 
and Mathias. His association with Ellen Terry began in 1878. With 
an analytic mind, a comprehensive grasp of detail and an unwavering 
integrity of purpose, his efforts culminated in successful consum- 
mation. In 1883 Irving first seized the American continent, starting 
on his tour with the most extraordinary banquet in all the history of 
English society, and carrying with him the whole nation's wishes for 
success. Since that time he has deservedly made huge fortunes in 
America, where he is as genuinely admired as in England. Irving 
was honored by his Sovereign, Victoria, in 1895, by being knighted, 
the first instance of an actor being thus favored. In Feb., 1899, 
the University of Glasgow conferred the degree of Doctor of Laws 
upon the eminent actor; Scotland thus followed the lead of England, 
and Ireland, Sir Henry Irving having already received similar de- 
grees from Cambridge and Dublin Universities. Such a tribute to an 
actor's talent was unprecedented in the annals of the British stage. 
Lady Irving lives in retirement, but two sons are achieving social 
success in the walks of their illustrious sire. The elder, Henry B. 
(born 1870), who married Dorothea Baird, the original of du Mau- 
rier's drawings of Trilby, is an author of scholarly temperament and 
an actor of increasing power. Laurence (born 1871), is an impulsive, 
excitable actor, but a dramatist of no mean merit. He was seen in 
the support of Sir Henry during the last American tour. Sir Henry's 
second visit to Montreal was 22-23-24 Feb., 1894; his third, week 
September 16, 1895, when he opened his fifth American tour. 
Following a production of "Peter the Great" Sir Henry pre- 
sented Sardou's "Robespierre/* which he featured during his last 
American tour of 1899-1900, and in which he was seen on the 
opening of a three nights' engagement at the Academy of Music, 
Montreal beginning 8th March, 1900, with Shylock 9th, and in "The 
Bells" and "Waterloo," 10th. The tour of twenty-nine weeks in 
this country, which closed May 18, is said to have earned about 
$200,000 for Sir Henry. Before sailing Sir Henry sent to Col. Baden 
Powell, the hero of Mafeking, the following cablegram: "Great 
Glamis; worthy Cawdor" Irving and Terry have visited America 
six times, their first tour being in the season of 1883-84 and the 
others in 1884-85, 1887-88, 1893-94, 1895-96 and 1899-1900. Irving has 
played 22 parts in these tours and Miss Terry has played 16. Irving 
is admired for the delight and instruction he has rendered with so 
lavish a hand, and those whose privilege it is to know him love him 
for his gentle, kindly qualities and unostentatious generosity. When 

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this most conspicuous and talented figure of our stage retires from 
the. mimic scene, let us hope that it will be with a generous fortune. 
He has crowned the heights which now decline gently into the vale 
of years, and has all 

"That which should accompany old age, 

As honor, love* obedience, troops of friends." 


ushered in Lotta, 6th January, for three nights, followed by 
E. F. Thorne in "The Black Flag" ; Thos. W. Keene, in 
Shakespearean repertory, week 19th ; Bride and Freaks 
"Bunch of Keys/' week 26th; and, week 2nd February, Marie 
Prescott, in "The Wages of Sin/' made her stellar debut here 
in presenting, also for the first time in Montreal, that very 
moral and strong play. She was supported by Charles E. 
Manbury and Charles Overton. Her first appearance hero 
was in support of Salvini, week 17th January, 1881. "The 
Pavements of Paris" was seen week 23rd February, and dur- 
ing the week 9th March "In the Ranks," headed by E. J. 
Buckley, held the boards. The Thompson Opera Company 
was heard in "The Beggar Student," week 17th March; "A 
Bunch of Keys," week 23rd; Mr. and Mrs. Neil Warner, in 
"Man and Wife," 10th April; George S. Knight, in "Over the 
Garden Wall," week 13th April; French Opera Company for 
five nights from 20th April; E. A. McDowell's Comedy Co., 
25th; Jacques Kruger, in "Dreams," week 27th; and Theo, 
in repertoire, week 4th May. Lawrence Barrett, supported 
by Louis James and Marie Wainwright, opened 18th May in 
"Richelieu," following in "Francesca di Rimini," "Julius 
Caesar/' and "Much Ado About Nothing." This was the 
tragedian's third and last visit here. Margaret Mather, sup- 
ported by Milnes Levick, made her first appearance here week 
2Sth May in "Romeo and Juliet," "Leah the Forsaken," "The 
Honeymoon," "The Hunchback," "The Lady of Lyons/' and 
"Macbeth.'' Grau's French Opera Company came week 8th 
June, extending- their engagement three weeks, after which 
the house was closed for the season. Owiner to the epidemic 
of smallnox. which continued during the summer and early 
fall of 1 88*. the theatre was not reopened until 30th Novem- 
ber, when Georee S. Knieht beean a week's encasement in 
"Over the Garden Wall." Followine him came Rose Cogrh- 
lan, for two weeks from 21st December, in "Our Joan," this 
being the ladv's stellar debut here. During her second week 
*he appeared in "Victor Durand" and "Idol of the Hour." 

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MARTE VICTOR PRESCOTT was one of those women whom 
nature had gifted for the stage, her figure being graceful and com- 
man ding, her features beautiful and capable of a great variety of 
expression. Her support of Salvini developed her powers which her 
best friends never dreamed of, and, without being an ideal classical 
artist, she possessed a fund of passion and emotion which instantly 
found sympathetic recognition from the most exacting audiences. 
Miss Prescott was born at Paris, Ky., in 1853 (nee Victor), and her 
debut on the stage was made at Cincinnati in 1876, as Lady Macbeth 
to the Thane of Frank Roche. Her success was so signal that she 
\ras engaged for the rest of the week. After supporting John 
McCullough and Daniel Bandmann, she went with Salvini, as noted. 
She was married first to Mr. Perzel, from whom she was divorced 
in 1891; then married R. D. (Shepard) MacLean, the tragedian, in 
June, 1892. Miss Prescott died in New York city, 28th August, 1893, 

EDWARD J. BUCKLEY died of paralysis 27th December, 1897, 
at his home in New York city. Born in Australia in 1843, he came 
when an infant to America, and made his first public appearance in 
1864, at Victoria, B.C., as William, in an amateur production of 
"Black-Eyed Susan." His professional debut was made soon after 
as Etienne in "Fanchon," with a stock company at Stockton, CaL, 
Amy Stone being the star. He advanced rapidly and soon joined 
John McCullough' s San Francisco Co., as "walking gentleman/' 
In 1869 he was a member of the famous company which opened the 
California theatre. As a member of the Booth and Barrett Co., 
and as Sir Lucius 0' Trigger in Jefferson's production of "The 
Rivals," he made distinctive hits. His last appearance in New York 
was with Nat C. Goodwin in the "Gold Mine." His last engagement 
in Montreal was in support of Maude Banks in "Igomar," at the 
Academy, week 8th October, 1888. 

ROSE COGHLAN, by superior intelligence and power, rose from 
one of the witches in "Macbeth" to be one of America's most brilliant 
leading ladies. In such characters as Lady Teazle she was unap- 
proachable. Her humor was racy, spontaneous and abundant, her 
art having been essentially that of the comedienne, as she never 
appeared to the same advantage in sentimental roles. Miss Coghlan 
was born in Peterboro, Eng., in 1853, and, like Garrick, Irish and 
French blood flows in her veins. Her father was a literateur and her 
mother of a devotional turn of mind, wishing that Rose should 
become a nun; but through the influence of her brother Charles, 
who had abandoned the bar for the stage, his action confirmed his 
sister in her choice of a future, and in 1868 she made her debut in 
Greenock, Scotland. In 1871 she came to America, and for some 
years divided her work between the two countries, supporting 
several stars, including Barry Sullivan. Her best efforts were in the 
Wallack stock company. She married Clinton Edgerly in 1885, but, 

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after being divorced, married her leading man, John T. Sullivan, with 
whom she starred for several seasons. Of late years they played* 
separately. The exceptionally bright career that opened up to her 
m the summer of her triumphs has now been shaded by the grey 
clouds of a chilly autumn. This actress, during the past few years, 
has had less of good fortune than her talents entitle her to; and I 
am not alone in my desire to see Miss Coghlan once more as Lady 
Gay, as Peg Woffington, as Stephanie, as Zicka and as Lady Teazle, 
She has adorned our stage with honor in the past, and belongs 
among the stars. 

MARGARET MATHER was born Oct. 21, 1859, at Tilbury. Can.^ 
but her childhood was spent in Detroit, Mich. She was the daughter, 
of John Finlayson, a mechanic, who. being out of work, set her to. 
selling newspapers when she was ten years. Margaret passed her 
childhood among squalid surroundings, not in any way tending to 
divert her attention toward the stage. After she left home, a half- 
grown girl, she engaged as dish-washer in the Russell House. When 
about nineteen years of age. under the name of Margaret Bloomer,' 
She entered the profession as a member of a road companv. In 
1879 she was a member of the George Edtrar combination, plaving 
leading roles in Shakespearean repertory. She was next engaged by 
J. M. Hill, and. after undergoing several months of studv. she made 
her stellar debut Aug. 28, 1882, at McVickcr's Theatre. Chicago, 111., 
as Juliet, in "Romeo and Juliet." Public curiositv had been Pre- 
viously aroused in consequence of the manv private readings Miss 
Mather had given before critics and friends in the various cities 
throughout the United States, and a representative audience 
witnessed and gave the verdict of success to her debut. A tour of 
the larger cities followed, and in Cincinnati. St. Louis and Boston 
she shortly became well known. For three years following she 
travelled on the various circuits West and East. Oct. 13. 1885, her 
metropolitan debut occurred at the Union Square Theatre, as Juliet. 
At that house she remained until Feb. 6. 1886. playing in that 
interval but three characters — Juliet. Juliana and Leah. The "Romeo 
and Juliet" run— eighty-four consecutive representations — goes on 
record as the longest run of that play in this country. She then 
went on the road again, and continued under Mr. Hill's management 
until the spring of 1887. On Feb. 15 of that year Miss Mather and 
Emil Haberkorn were married at Buffalo, N. Y. Mr. Hill was not 
informed of the marriage until two weeks later, when Mr. Haber- 
korn told him, and also demanded to see Mr. Hill's account with 
Miss Mather. Manager Hill denied Mr. Haberkorn's authority to in- 
terfere, and litie^ation followed, which resulted in the court releasing 
Miss Mather from her contract with Mr. Hill (which had still some- 
time to run), and she went on a starring tour with her husband as 
manager. This arrangement continued for four years, during which 

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time she made several large productions. On Sept. 16, 1889, she 
made her first appearance in the title role of "Gretchen" at the new 
California Theatre, San Francisco, Cal. On December 8, 1890, she 
produced at the Fifth Avenue Theatre, New York, and for the first 
time in this country, Wm. Young's English adaptation of Jules Bar- 
bier's "Joan of Arc." In 1891 she separated from her husband arid 
became her own manager. On July 2, 1892, she was divorced from 
Mr. Haberkorn, and on the 26th of the same month she was married 
to Gustave Pabst. a son of the rich Milwaukee, Wis., brewer of 
that name. On her marriage to Mr. Pabst, Miss Mather retired 
from the stage. They did not live happily together, and on one 
occasion, in October, 1895, she horsewhipped him in a Milwaukee 
street. Mr. Pabst sued later for a divorce, alleging cruelty, and it 
was reported that he gave his wife $100,000 not to defend the suit 
On Oct 19, 1896, they were divorced, and Miss Mather returned to 
the stage, her first production being a revival, on a grand scale, 
of "Cymbeline," at Wallack's. New York. She then went on the road 
for the remainder of the season. The next season she added 
"Romeo and Juliet" and other plays to her repertory. Margaret 
Mather died April 7, 1898, at Charleston, West Virginia. The 
night before, during the performances of "Cymbeline," she was 
suddenly prostrated. She was carried off the stage in an un- 
conscious condition, and never regained consciousness. Miss 
Mather thrice visited Montreal, her second engagement having been 
week 8th Sept., 1890, in repertoire, supported by Otis Skinner, and 
her last appearance here was week 24th May, 1897, supported by 
E. J. Henley, Wm. Courtleigh, Wm. Redmund and Mrs. Thos. 
Barry, in "Cymbeline," this being the first production of the piece 
in Montreal. During this engagement, on the evening 27th May, 
one of the most remarkable pieces of acting was that of Miss 
Mather's, when, just as she came on the scene and stood before the 
cave of Belarius, a shock of earthquake shook the Academy as 
though it were a reed. Midst great excitement she, one of the few, 
kept calm, and ere the gallery had ceased its shouting, she went on 
with her lines: 

"I see a man's life is a tedious one; 

I have tir'd myself; and for two nights together 

Have made the ground my bed." 
It was a great effort, and one which will be long remembered by 
those who witnessed it. 


marked the century anniversary of Montreal theatricals. Jan- 
ish was the attraction, week 4th January, in "Princess And 
rea." The Haymarket Theatre Company, of London, headed 
bv Emilv Sheridan and Felix Pitt, appeared, week nth, in 

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"Dark Days," followed by the first representation here of 
Gilbert and Sullivan's most popular comic opera, "The Mika- 
do/' by John Stetson's Company, week 21st. The Daly's in 
"Vacation," held the boards week 28th; and Haverly's Min- 
strels four nights from 4th February. The Cragg Family of 
acrobats appeared during this engagement. Lizzie May Ul- 
mer, in " Dad's Girl," followed week 8th ; John Stetson's 
"Mikado'' returned week 15th; Rosina Vokes, week 22nd; 
the Madison Square Theatre Company, in "The Rajah," week 
1st March; Cornell's Imperial Japanese Troupe, week 8th; 
and Mme. Judic in repertory of comic operas during week 
22nd March. Following Judic came Bartley Campbell's 
spectacular play, "Clio,'' week 29th, with 100 people in the 
company, headed by Mile. Adele Cornalba and Atkins Law- 
rence. Joseph Murphy, in "Kerry Gow" and "Shaun Rhue," 
appeared week 5th April; Lotta, in "Mile. Nitouche" and "An 
Old Trick," for four nights from 13th April; Stetson's "Mika- 
do," week 3rd May; Haverly's Minstrels, week 10th; and then 
Joseph Jefferson made his second appearance in this city, 
week 17th, in "Rip," "Cricket on the Hearth" and "Lend 
me Five Shillings." Annie Ward Tiffany and Nelson Wheat- 
croft, at the head of L. R. Shewell's "Shadows of a Great 
City," appeared week 24th May. The Fay Templeton Opera 
Company, minus the star, appeared in "The Mikado," week 
9th August, when the house closed for a few weeks. The 
regular opening of the fall season was w^eek 6th September, 
with Frank Harvey's "Wages of Sin," headed by Chas E. 
Mauburv. Then followed Hanlon's "Fantasma," week 13th; 
Arthur Rehan's "Nancy & Co.," week 20th; Jonn Templeton's 
Company in "The Mikado," week 27th, and Rose Coghlan, 
week 4th October, presenting "School for Scandal," "London 
Assurance," "As You Like It,'' "A Scrap of Paper," and "The 
Lady of Lyons." Miss Coghlan was supported by Frederick 
De Belleville, A. S. Lipman, Charles Wakot, Verner 
Clarges, Mrs. Walcot and Maud Peters. George W. Mon- 
roe, in "My Aunt Bridget," came week nth October, 
followed by Hortense Rhea, week 18th, in " A Dan- 
gerous Game," " Pygmalion and Galatea," " Romance of a 
Poor Young Man" "and "The Country Girl." Lilian Olcott, 
supported by J. H. Gilmour, was seen, week 25th October, 
; n Sardou's "Theodora." Edmund Collier made his stellar 
debut here week 2nd November, opening in John A. Stone's 
great Indian tragedy, " Metamora," this being its first re- 

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presentation in this city. It was one of Edwin Forrest's 
greatest successes. The following was the cast: Lord 
Fitz Arnold, Lawrence Hanley ; Sir Arthur Vaughn, Heniry 
Hanscombe; Mordaunt, Saml. C. Du Bois; Errington, 
Joseph P. Winter ; Walter, Wm. Wilson ; Capt. Church, 
Marcus Moriarty; Wolfe, Jerome Stansil; Tramp, Fred 
Kent; ; Officer, Thos. W. Hudson ; Oceana, Henrietta 
Crossman ; Metamora, Edmund Collier ; Otah, Wm. Bowers ; 
Anahwand, John Bell ; Kaneshine, Sedley Brown ; Kahmao- 
kee, Sara Nevilbe ; Child, Little Etta. " Metamora " was 
repeated 3rd ; " Jack Cade '' 4th and 5th ; " Virgfnius '' 6th 
and 7th ; and " Damon and Pythias," matinee 7th. Gene- 
vieve Ward, supported by W. H. Vernon, appeared week 
9th November in "The Queen's Favorite," "Nance Old- 
field," "His Last Legs" and "Fbrget-Me- Not." Mrs. Chas. 
Watson gave a dramatic reading 17th. Louis James and 
Marie Wainwright began a three nights' engagement 18th 
November, opening in "Virginius." with the cast as follows: 
Virginius, Louis James; Appius Claudius, F. C. Huebner; 
Caius Claudius, John W. Thompson ; Dentatus, E. L. Tilton ; 
Icilius, F. C. Mosely ; Numitorius, Geo. D. Fawcett ; Lucius, 
Percy Brooke ; Titus, Ed. N. Hoyt ; Marcus, Chas. D. 
Mackay; First Soldier, F. W. Cline; Servia, Kate Meek; 
Female Slave, Aurelia Sarner; Virginia, Marie Wainwright. 
This was the stellar debut here of this talented couple. 
"Hamlet" was produced 19th; "Romeo and Juliet," matinee, 
20th ; closing that evening with a double bill, " Shylock '' 
and "Katherine and Fetruchio." Charles Erin Verner, in 
"Shamus O'Brien," was the next attraction week 25th Nov. 
Joseph Haworth appeared in Montreal for the first time, week 
30th November, as a feature in the production of " Hoodman 
Blind." Sydney Armstrong and Augustus Cook were also 
in the cast. May Fortescue, a late importation from Eng- 
land, was seen here week of 6th December in " Frou Frou," 
"Gretchen and Moths.'' Dion Boucicault and Louise Thorne- 
dyke (Mrs. Boucicault) appeared, week 20th December in 
the formers own play, " The Jilt." This was his last appear- 
ance here, dying 18th September, 1890. He first appeared 
here in 1853. "The Main Line " closed the season's annals, 
week 27th December, as well as the theatre's detailed record, 
for what from this date has been subsequent is already famil- 
iar to my readers, and space will scarcely permit further 

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IDA UUAH OLCOTT, the popular actress, was the daughter 
of Dr. Cornelius Olcott, a Brooklyn physician. She was born in 
1861. She became a prominent amateur actress. In 1882 she played 
Juliet with the Williamsburg Amateur League, and shortly afterward 
went on the road for a few weeks professionally, making an appear- 
ance at the Brooklyn Theatre as Juliet. She made preparations m 
1887 for an extended tour, which was abandoned on account of her 
father's illness. In 1884 she starred in "Dark Days." The next 
year she went to Paris and purchased the American rights to 
''Theodora" from Sardou, in which drama she played with artistic 
success for two seasons. Litigation with the Franco-American 
agency caused her to disband her company in Chicago very shortly 
before her death, which occurred 8th April, 1888, from a cold con- 
tracted during a blizzard in New York. 

JOHN H. GILMOUR (our Jack) has always been a favorite here, 
not only for the fact of being a Canadian, but aLso owing to his 
histrionic capabilities. He was born at Ottawa, 1st August, 1858. 
His father took up his residence at Montreal two years later. As a 
boy Mr. Gilmour developed dramatic tendencies, and made his debut 
under very favorable auspices as Valentine in "Twelfth Night/' 2ntl 
March, 1877, at the Academy of Music, in company with Adelaide 
Neilson, Eben Plympton and Neil Warner. In 1880 he joined 
McDowell's company and went to the West Indies, returning in the 
spring of 1881, when he joined Wallack's company in the "Veteran" 
jn tour, again appearing hene. He next undertook the management 
of the Ottawa and Quebec theatres, and in 1885 and 1886 was seen at 
the Lyceum Theatre on Beaver Hall Hill. After a season with 
Lilian Olcott, he was with Rose Coghlan for a short time, after 
which he appeared in and created the leading role of "Mr. Barnes of 
New York" at the Broadway Theatre, New York, subsequently also 
creating the part of the old Earl in "Little Lord Fauntleroy" at the 
same house. After a few seasons of stock company work, he was 
this season leading man for Julia Marlowe. Mr. Gilmour is still in 
his prime, and we look to him for great things in the near future. 
About 1881 he married Caroline Vinton, and is the happy sire of two 
boys and a girl. His home is at Larchmont, N. Y., where he finds 
time during the summer months to enjoy merited recreation in the 
circle of his family, as well as to profit in the exercise of athletic sports, 
of which he is very fond. 

GEORGE W. MUNROE, first seen here as Bridget with George 
S. Knight in "Over the Garden Wall," is a graduate of the varieties, 
although his first appearance was in a regular play at Philadelphia, 
where he was born in 1859. After being with Mr. Knight two 
seasons, he secured "My Aunt Bridget," and embarked on a joint 
starring tour with John C. Rice, which continued for five years. 

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They separated, Munroe appearing for two seasons in a sequel 
called "Aunt Bridget's Baby." For three seasons he toured in 
"A Happy Little Home." 

UfeLr&ON WHEATCROFT, one of the cleverest exponents of the 
modern stage villains, was born in London, 15th February, 1852. He' 
first appeared as an actor in 1873 at Swansea, in South Wales. Later 
he went to Sadler's Wells Theatre, London, where he supported 
Miss Bateman in "Leah," "Mary Warner," and also in some 
Shakespearean revivals. After joining the New York Lyceum theatre' 
company, he made a notable success as Martin Culver in "The Wife," 
and also as Dick Van Buren in "The Charity Ball." He later became 
leading .man of Charles Frohman's new Empire Theatre Company. 
His last engagement was at the Knickerbocker Theatre, New York, 
as D'Aubenas, in Sardou's short-lived play, "Spiritism," staged a few 
days prior to his death, which occurred rather suddenly 3rd March, 
1897, from pneumonia. His wife, Adelaide Stanhope, is conducting 
a school of dramatic instruction in New York. 

ANNIE WARD TIFFANY has played all lines from Topsy to 
Lady Macbeth. Of late she has been identified with Irish character 
parts. Miss Tiffany was born in Limerick, Ireland: When a child 
she was brought to Syracuse, N. Y., where she made an early 
appearance on the stage. Soubrette work followed in Philadelphia 
under Mrs. Drew, and in 1867 she became enrolled at Wallack's, 
remaining two years. The season of 1884-85 she engaged for the 
part of Biddy Nolan in "Shadows of a Great City," and played it for 
eight consecutive seasons. The season of 1892-93 she produced 
Alfred Kennedy's play, "Lady Blarney," then went starring in "Lady 
Blarney" and "The Step-Daughter." In private life she is Mrs. 
Charles H. Greene. 

MME. JTJDIC, the once famous artist, made her debut at Wal- 
lack's Theatre, New York, September, 1885, in "Mile. Nitouche." 
She used her voice, both in singing and talking, very skillfully, but 
her tour could scarcely be called successful. On her return to 
France she found that her popularity had waned, 

JOSEPH S. HA WORTH was born at Providence, R. L, April 7, 
1858, and made his debut with his tutor, Charlotte Crampton, in May, 
1873, as the Duke of Birmingham in "Richard III." at the Academy of 
Music, Cleveland, O., Miss Crampton playing Richard. The following 
season he joined John Ellsler's stock company at Cleveland, playing 
his first part as a member of a stock company in "Aladdin," upon 
the same stage where a year previous he had made his debut. 
Three years later he took his farewell of Cleveland in the char- 
acter of Hamlet. Mr. Haworth then joined the Boston Museum 
company, where he remained four seasons, playing a round of lead- 
ing parts in comedy, tragedy, drama and comic opera. Incidentally 

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he played Romeo to Mary Anderson's Juliet, at the Boston Theatre, 
with success. He was offered, but declined, the position of lead- 
ing man at the Boston Museum, having arranged to join the late 
John McCullough's company, in which he played logo, Julius Cassius, 
Ingomar, etc., Since that time he has played in "Demise," with 
Clara Morris; in J. M. Hill's "Moral Crime" company, and 
later in French & Sanger's "Hoodmati Blind" Company, appear- 
ing here as noted. He has since been a frequent visitor here, 
having been seen in "Paul Kauvar." "Rosedale," "Aunt Jack," 
and during his last starring engagement here, in the spring of 
1895, was seen in the classical roles of tragedy. He was, in 
1896-97, a feature in Bret Harte's play of "Sue." A co-starring tour 
with Modjeska (1898) was followed by his metropolitan engage- 
ment to play John Storm in support of Viola Allen in "The 
Christian." This season he was the Vicinius in the Whitney pro- 
duction of "Quo Vadis." In the roles of Storm and Vicinius 
Mr. Haworth was profoundly true and beautifully sympathetic, 
embracing into these interpretations the marked reverence which 
renders his Hamlet so exquisitely filial and ideal. Mr. Haworth 
lacks few of the essential qualities to place him as the representa- 
tive American actor of to-day. He has not the full intellectual 
inHuence of Edwin Booth, nor can he make the icy scholarly appeal 
which marked the acting of Lawrence Barrett. He is not fiercely 
robust like John McCullough, nor romantically beautiful like H. J. 
Montague, but he has some quality of all these men, and adds 
to that a voice of sonorous eloquence and solemn music, with a 
native grace of action that must have been the inheritance of 
Edwin Adams. 

SYDNEY ARMSTRONG has had a theatrical career dating 
since 1884. She was born in Memphis, Tenn., and in 1884 made 
her debut among amateurs. Being successful, the young lady was 
advised to go East, and try her fortunes, and eventually became a 
member of a touring company. While playing in "Forgiven," at 
McVicker's, Chicago, she was noticed and engaged by F. W. Sanger 
to create the leading role in "Harbor Lights." She was afterwards 
with "Hoodman Blind," "The Burglar," and then engaged by C. 
Frohman. Her's has been a notable instance of success won on 
artistic merit, without recourse to the aid of notoriety. She is now 
Mrs. W. H. Smyth. 

MAY FORTESCUE had large audiences. The majority were 
atti acted out of the celebrated Garmoyle breach of promise suit* 
They found a girl, pretty, it is true, but not strikingly so ; slight of 
figure, and of medium height, with nut brown hair, and large ex- 
pressive eyes. The face bore a rather sad expression, and the voice 
was full and musical. As an actress Miss Fortescue cannot be judg- 
ed by comparisons with any one. She confined her talents — and she 

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had considerable — to such roles as were not too heavy for her to 
grapple with, and by so doing shielded herself from harsh criticism. 
Miss Fortescue's surname is Finney, and her father is a coal mer- 
chant in England. 

FREDERICK DE BELLEVILLE is a native of Belgium, and 
was born in 1853. He served in the army before he became an actor. 
His stage debut was made in England, and, after playing in farce, 
tragedy, meJodrama, pantomime, comedy and extravaganza for 
several years,, he came to America via Australia, and soon reached 
New York city, where he joined the Palmer forces at the Union 
Square. He was leading man for Clara Morris during a series of 
important matinees, and then took to starring, appearing in "The 
Corsican Brothers," "Monte Cristo," "The Silver King," and "Pa- 
quita," the latter one of Bartley Campbell's plays, and the failure of 
which is alleged to have caused a disappointment so acute as to be 
responsible for the mental derangement that overtook the play- 
wright shortly before his demise. He was leading man for Rose 
Coghlan for a season, was identified with the premier of Steele 
Mackaye's "Paul Kattvar." with Viola Allen in "Hoodman Blind'," 
supported Gara Morris for a couple of seasons, appeared in "Men 
and Women." "Diplomacy," and "Thermilor," under Charles Froh- 
man, joined Pose and Charles Coghlan for their big revival of 
"Diplomacy." and assisted W. H. Crane in a reproduction of "The 
Senator." This is but a slight resume of the productions in which 
De Belleville has appeared ; and he frequently has been called 
upon to create in special productions. Later he appeared in sup- 
port of Mrs. Fiske in "Tess of the d'Ubervilles. 

EMMA (XAJEUlfESSE) ALBANI~GYE. The annals of the 
Academv cannot be passed over without a special mention of our 
own Albani, who appeared on its boards from time to time, 
her last appearance in reeular opera having been week of 25th 
January, 1002. Madame Albani is the eldest of three children of 
Joseph de St. T.ouis dit Lajeunesse, and was born at Chamblv in 
1850. She received her early education at the Sacred Heart Con- 
vent, at Montreal, and. under the management of her father, first 
appeared at a concert in her eighth year at Mechanics' Hall. When 
the father decided that she should receive all the advantages of 
a musical education, the religious bodies did their utmost to 
dissuade him, but without avail. In 1864 the family settled at 
Albany. N. Y., and it was from this city that she chose her staee 
name. It was also here that she attracted the attention of Brignoli. 
whose influence brought her before responsible authorities. She 
snWnuentlv realized $1,800 from a benefit concert, which, together 
with her savings, enabled her to visit Paris, then to Milan, where 
she soon developed those exquisite and wonderful talents which 

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have since edified the musical world. Her operatic debut was as 
Amina in "La Somnambula," at Messina, in 1871, appearing in the 
same role at Covent Garden Theatre, London, 2nd April, 1872, and 
a year later in New York. Her first regular appearance in Montreal 
was during Carnival week, 1883, and her last appearance was in 
c6ncert features at the Windsor Hall, 7th December, 189S During 
1897-98 she was heard in Australia. Albani became Mrs. Ernest 
Gye in 1878, having married the son of her first London manager. 
She has a son who has also developed considerable musical talent 
as an instrumentalist. Her father is still living at Chambly, and a 
brother, Adelard, is cure of St Calixte. 


When those superstitiously inclined will note that this was 
Montreal's thirteenth play-house, not taking into considera- 
tion the Mechanics' and Nordheimer's Halls (which were only 
intended for concert purposes and magical entertainments), 
they will at once attribute its ill-luck to that fact. This house 
of amusement occupied the present site of the new Young 
Men's Christian Association, on Dominion Square, and was 
originally a skating-rink. It was a large wooden structure 
with an arched roof. In 1884 it was neatly fitted up for thea- 
trical representations, with a seating capacity of from 1,200 to 
1,500. It was opened up by Manager Roland Gideon Israel 
Barnett, 24th May, 1884, with a company of comic opera ar- 
tists in "Iolanthe." The company included Janet Edmonson, 
Fanny Wentworth, Perle Dudley, Lillian Greer, Signor Bro- 
colini (nee John Clark), W. H. Seymour, Henry Molton, 
Frank Barnes, James H. Finn and Frank Moudten. Prices of 
admission were: boxes, $5; reserved seats, 75c; 50c and 25c. 
General admission, 15c. A number of standard comic operas 
were well staged, and during the season W. T. Carleton, the 
talented baritone, was specially engaged, appearing frequently, 
but the season was unprofitable. Louis McGowan became 
lessee at the end of the opera season, opening, 1st October, 
with Haworth's Comedy Co., for one week, but the effort was 
not remunerative. The second and last season opened, 25th 
May, 1885, with "The Merry War." J. H. Gilmour pro- 
duced Tillotson's drama, "Lynwood," week of 29th June, 
followed by the Standish Grand English Opera Company, 
6th July, in " Martha " ; extending the engagement until 
the production of " Ixion," which was advertised as the 
initial feature of the "grand reopening" under the 
Barnett management. The season was short and again 

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unprofitable, the doors of the theatre closing, to reopen 
no more. Barnett left some creditors behind, as well as the 
regrets of our music loving population. Probably few men 
have had an experience so varied as that of Barnett. During 
his life he has been a theatrical manager, a diamond broker, 
a stock broker and money-lender, a millionaire, and, at pre- 
sent, a convict. 

No other Montreal theatre has had such varied annals as 


Situated on the northwest corner of Beaver Hall Hill 
and Latour Street, on the site of A. E. Small & Co.'s new 
warehouse, the building was erected by the Congregational- 
ists in 1845, and called Zion church, Dr. Wilkes and Rev. Mr. 
Bray being prominent in its pulpit. In 1880 the property 
was sold to a syndicate for $20,600. Stores were added to its 
front and the hail turned into theatrical uses. John Stephen, 
editor of Canada First, was the first manager. It was then 
known as Albert Hall, and was the scene of variety perform- 
ances as an advertising medium for the paper. It was then 
rented for synagogue purposes until the 28th April, 1884, 
when it became known as the Victoria Theatre, opening a 
short season of variety performances under the management 
of Beaucleigh & Co. On 12th May the San Francisco Min- 
strels opened a week's engagement. The principals were 
Weston, Bryant, Hanson, Saville, Petrie, Fish and Laird. The 
house was then closed until 10th Novemlber, when it changed 
its name to the Montreal Theatre Museum, with Coleman & 
Mooney as lessees and managers. Bennett Matlack, in "A 
Celebrated Case," was the opening bill. "The Danites" was 
produced week 17th, after which a series of vaudeville per- 
formances followed. Ed. Chrissie, in "Detected," for a week 
from December 29th, was followed by tlie St. Quinten Opera 
Company, week 12th January, 1885; then Foreman & Mere- 
dith's Combination Troupe, week 19th; the Bijou Minstrels, 
week 26th; Fanny Herring, in "Little Buck Shot," and Louise 
Hoyt, in "Sold"; week 9th February closed the Coleman & 
Mooney lesseeship, their successor being Wm. H. Lytell, who 
opened his season, 16th February, with "Youth." He sur- 
rounded himself with a very fair stock company and produced 
a number of standard plays. The company included Wm.. 
Morris, O. B. Collins, Walter Walker, J. H. Gilmour, J. Bun- 
ney, H. C. Hartsell, Blanche Mortimer (Mrs. Lytell), Floride 

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Abell, Mrs. Savage, Helen Parr, Frederick Vroom, Horace 
Dawson and others. 

WILLIAM MORRIS is a native of Boston, entering the dramatic 
profession at the age of fourteen. Mr. Morris has risen in the pro- 
fession, having been in such companies as Daly's, Modjeska and 
the Frohmans. In October, 1891, he married Esta Hawkins, of 
Aurora, Ills. None of Mr. Frohman's company of excellent actors 
is more popular than he. 

Following "Youth" was produced at this house succes- 
sively: "The Shaughrahn," week 23rd February; "The Galley 
Slave," week 2nd March ; " The World," week 9th ; " Monte 
Cristo," week 16th ; "Lights o' London," week 23rd ; and, for 
the first time in Montreal, Bartley Campbell's "Separation," 
week 30th, with the following cast: Brenton Blair, J. H. Gil- 
mour; Felix, J. Bunny; Abner Day, O. B. Collins; Major Max- 
well, Harry Parker; Duke Warren, Ralph Bell; Mais, Walter 
Walker; Meldrutn, Newton Dana; Dora Blair, Blanche Morti- 
mer; Mile. Florinne, Flori Abel; Mabel Blair, Susie Howard; 
Fanny Maxwell, Jenny Savage; Abagail Day, Nellie Sandford; 
Mamie Maxwell, Miss Richardson; Milly, Carrie Webster; Mr. 
Swift, Harry Hartwell ; Lucy, Laura Simon. The name of the 
theatre had been changed a short time previously to LytelPs 
Opera House. "The White Slave" was produced week of 6th 
April ; and, on 13th, the Dora Wiley Opera Co., including 
Richard Golden, opened a two weeks' engagement, followed 
by "Fairfax," week 27th; "Michael Strogoff," for two weeks 
from 4th May; "Romany Rye," week 18th; "Hazel Kirke" 
week 25th; "Banker's Daughter," week 1st June; and "Silver 
King," week 8th, which closed the Lytell season. On 20th 
June "L'Habitant'' was produced, with Cyril Searle at the 
head of a company. This was the work of a Canadian, but 
failed to draw. John H. Gilmour opened the theatre, 6th 
July, as the Montreal Theatre, with "The Gov'nor" and "Es- 
meralda" during the first week; "Pink Dominoes" was pre- 
sented week 13th. W. H. Lytell resumed the lease, 12th 
October, opening with "The Galley Slave," and restoring the 
name of the house to Lytell's Opera House. Again followed 
"The Lights o' London," week 19th; "The Colleen Bawn," 
week 26th ; "Streets of New York" and "Jessie Brown," week 
2nd November; "The Corsican Brothers/' week 9th; "Sea of 
Ice," week 16th: "The World," week 23rd; and "After the 
Ball" and "The Coming Member" (double bill) during the 
last week of the season, closing 5th December, 1885. 

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The house was opened week of 1st February, 1896, as the 
Lyceum Theatre, with " Youth," " A Box ot Cash," with 
Edith Sinclair, week 8th ; " Lynwood," week 15th ; and "A 
Barber's Scrape," with Richard Golden, week 12th. This 
^iece was written by a Canadian, and was backed by Erastus 
vViman. The theatre remained closed until 21st March, 
when Lester and Allen's Minstrels, including the pugilist, 
John L. Sullivan, appeared for three nights. About this time 
was produced Clay M. Green's drama, " Louis Riel," the auth- 
or appearing in the cast, which also included Arthur H. For- 
est, who assumed the title role, and Archie Boyd, who was 
subsequently seen here as Joshua in "The Old Homestead," in 
1890. From this time the career of the house closed as a 
theatre. The premises were subsequently occupied by th\s 
"Montreal'Herald" for a few years, but were badly gutted by 
fire, 27th March, 1893, torn down in 1896, and rebuilt for 
office and warehouse purposes. 

BLANCHE MORTIMER-LYTIXL, frequently seen here as lead- 
ing lady, was a great favorite and a clever actress. She was the 
wife of William H. Lytell, comedian and stage manager. She died 
of consumption at Gilboa, N. Y., 30th January, 1897. Her husband 
and two sons survive her. Mrs. Lytell was of a cheerful and spright- 
ly disposition, loving the flowers and sunshine of nature, and, grie- 
ous as her long malady had been, the little lady had ever confid- 
ence of ultimate recovery. In a letter to the writer some two weeks 
preceding her death, she expressed expectations of regaining strength 
in time to write a few recollections for this record, but in a few 
days she passed calmly into the dreamless sleep of the dead, and 
the story of her life will be told instead in loving tenderness by the 
immense circle of her personal friends. 


was situated on the north sick of St. Catherine street in the 
Queen's Block, between University and Victoria streets, and 
is the property of the Ogilvy estate. It was situated on the 
second story, and was originally a concert hall known as the 
Queen's Hall. On 22nd June, 1891, an Opera Company, un- 
der the management of Messrs. Roth & Slocum, began an ex- 
tended engagement in 'The Mikado." The principals were 
Lily Post, N. S. Burnham, George Lyding and J. W. Herbert. 
The house was then known as the Queen's Opera House. In 
August of the same year Messrs. Sparrow & Jacobs became 


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lessees and managers of the house, when it also assumed the 
name of yueen's iheatre. Ihe interior was completely re- 
modelled, and was one of the prettiest in the country. The 
house opened 21st September, with R.E.Graham in "lhe 
Little lycoon." A number of leading attractions were 
booked, including James O'Neill, who appeared here 
for the first time as a star in "Monte Cristo,'' week 
5th October, 1891 ; first appearance in Montreal of 
Clara Morris, week nth January 4 1892, in "Odette"; 
and first appearance in Montreal of Wilson Barrett, 
week 2nd January, 1893, in "Pharaoh," "Silver King," 
"Claudian" and "Hamlet." Chief in his support were the 
late Franklin McLeay and Maud Jeffries. Robert Mantell 
was seen in repertoire, week 9th Jan., 1893. During July a 
stock company, including Tyrone Power and Edith Crane, 
presented several dramas. Lawrence Hanley came week 
4th Sept., in " The Player," and the clever young tragedian, 
Walker Whiteside, made his first bow to Montrealers. week 
2nd Oct., appearing in " Hamlet," " Richelieu, M " Othello " 
and " Richard III." ; Wilson Barrett reappeared, week 1st 
January, 1894, in 4< Virginius," " Othello," " Hamlet," and 
other plays. Harry Kellar, the wizard, first appeared in 
Montreal, week 8th January, 1894. In the early spring of 
1894, the Geo. A. Baker Opera Co. played a long engage- 
ment. The foregoing were the leading attractions of many 
that appeared, space not permitting individual mention. At 
the opening of the autumn season of 1896, the prices of ad- 
mission were made to suit popular tastes. Admission was 
further reduced, week of 7th December, to 10,. 20 and 30 cents. 
A stock company was engaged, opening on that date in "The 
Two Orphans.'' The following were in the company : 
Nestor Lennon, Chas. R. Crolins, Basil West, Chas. E. 
Fisher, Clayton W. Legge, Grace Sherwood, Helen Robert- 
son, Marion Clifton, Annie Mortland. A new feature was 
also inaugurated, of introducing vaudeville turns between 
the acts. Several dramas were produced, after which the 
plan of booking regular dramatic and operatic combinations 
at cheap rates was resorted to with but a qualified degree of 
success. About this time Mr. J. B. Sparrow became sole 
lessee of this theatre. A new stock company, under the 
direction of W. H. Wright, was organized, and opened its 
-eason, 21st February, 1898, with the drama "In Spite of All." 
\ repertoire of standard plays was presented, including 
* : The Amazons," " The Banker's Daughter/' Lord Chumley " 

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"Sweet Lavender" and "The Fatal Card." The company's 
roster was as follows : VV. H. Wright, manager ; Sedhey 
Brown, stage manager ; William Harkins, Harold Hartsell, 
A. C. Deltwyn, Stephen Wright, John C. Ince, Thomas Ince, 
Berryl Hope, Una Abell, Dickie Delaro and Clara Knott. 
Mr. and Mrs. W. H. Wright (Berryl Hope) were promin- 
ently connected with the Francais stock company the previ- 
ous year and made many friends. The venture was not 
sufficiently profitable to warrant its continuance beyond 
30th April. Combination companies filled irregular dates, 
comic opera being a feature. With this paragraph the 
annals of this theatre in all probability close, for on Sunday 
evening, 16th September, 1899, the University Street portion 
of the building suddenly collapsed, fortunately at an hour 
when there were few passers by, and no person was injured. 
The property was considerably wrecked and the theatre 
rendered untenable. The announcement of the death of the 
young Canadian actor, Franklyn McLeay, in London, Eng., 
was received with such genuine sorrow by his friends here, 
that an outline of his career may be deemed within the pro- 
vince of this book. 

FRANKLIN McLEAY was a young Canadian, who a few years 
ago was playing minor roles in Wilson Barrett's company. His 
genius, however, was of that order which would not be kept down, 
and he soon rose to the position of leading* man of the organiza- 
tion. His work as Nero in "The Sign of the Cross" and as the Bat 
in "Pharaoh" stamped him as an actor of remarkable power and 
versatility. His later triumphs as Jediah in "Daughters of Babylon," 
and as Iago in "Othello" attracted the attention of Beerbohm Tree, 
who promptly engaged him to play Cassius in "Julius Ceasar." 
McLeay fairly shared the honors with Mr. Tree in that production, 
as he afterward did in "Ragged Robin," with which the distinguished 
English actor entertained his patrons at Her Majesty's theatre, 
London, in 1898. Mr. Beerbohm Tree took such a fancy to McLeay 
that he made him the leading man of his company, and he began a 
notable career that has now been cut short at a time when he was 
in the way of winning great fame as a historian. McLeay was born 
at Watford, Ont. A brilliant university career was achieved in 
Toronto, and his dramatic training was under the guidance of the 
late James E. Murdoch, until he joined the forces of Wilson Bar- 
rett. The special trait of Mr. McLeay was his ambition. He took 
life with deep seriousness, and never ceased to analyze his work, 
his life, his opportunities and his possibilities. At the same time 
he was not egotistical. It was all pure ambition. While he was 
proud of his athletic record and accustomed to bicycle a great deal, 
he looked a very frail man and never had a good color, but his 

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face was so kind, and his manners so sweet, it was always a plea- 
sure to see him. McLeay married Grace, daughter of Charles 
Warner, 18th Dec, 1898. During June, 1900, he organized a benefit 
performance at Drury Lane theatre in aid of the Ottawa fire suffer- 
ers, which netted $15,000. It is believed that overwork from this 
great effort brought about the brain fever of which he died, 6th 
July, 1900. Among those that took part were Sir Henry Irving 
and his company, Beerbohm Tree and his company, George Alex- 
ander and his company, the American beauty company, and, in 
fact, almost every actor, actress and singer of prominence in Lon- 
don, was there to help swell the splendidly planned charity. Queen 
Victoria was the principal patron, and among the other patrons 
were nearly all England's dukes and earls and lesser titled persons. 
For this occasion Mr. Clement Scott wrote a special patriotic 
poem, which I here append. It is called "Sister Canada," and was 
Written for Mrs. Leslie Carter, to recite at Mr. McLeay's monster 

Sister Canada! Safe at home 

We are no strangers ! Listen to me! 
Often across Niagara's foam 

Kisses, America, blows to thee! 
Take them again from these lips of mine, 

Here in old England, friend and guest! 
Drink from a love cup! Toast, divine! 

England! America! Canada blest. 
Sister! lovely in snow or sun. 
This is the union — three in one ! 

Ottawa sister! tears were shed, 

Tears of sympathy rose and fell, 
Pity from all, as you mourned your dead; 

Horror at clang of your tocsin bell ! 
Desolate Ottawa! Leagues away 

You have our sympathy, staunch and true. 
Sisters in England kneel and pray, 

God in mercy will comfort you. 

Ottawa dream in your hearts and homes, 
After bitterness sunshine comes. 

Loyalist Canada, let me twine 
Joyful laurel with mournful yew ; 
Did you not head the colonial line ? 

Fight for the Queen and the Empire too? 
Bravo, Canada ! loved at home, 

England's proud of your bone and back ; 
Wherever we march in the days to come 
Canada carries the Union Jack! 

England, America, Canada free! 
We are the union— one in three ! 

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the sixteenth to be chronicled, in only the second to have 
suffered destruction by fire, excluding the Nordheimer's 
Hall. The building was merely a whaleback shell erected 
in 1884 by W. W. Moore as a skating rink, on leased 
ground originally belonging to Peter Cavello. It was 
first opened 16th June, 1884, as the Grand Central 
Dime Museum, with the Harts, Al. Fostelle and Professor 
John Wingfield as the principals in a vaudeville entertain- 
ment. Coleman & Co. were its lessees. It was afterwards 
known as the Dominion Palace Opera House. In 1888 Mr. 
Moore strengthened the building considerably, and also 
lengthened it nearly thirty feet. In 1890 he altered it into a 
summer theatre. During the first summer, however, he made 
up his mind to continue both in summer and winter. The 
entrance was originally on St. Dominique street, near St. 
Catherine street. During the fall of 1890, a Wild West Show, 
headed by Rio Grande Bill and Col. Harry T. Murtha, began 
a short and unprofitable season. In 1891 the entrance was 
changed by tearing down the frontage of some store property 
on St. Catherine street. In the early summer of that year, W. 
W. Moore opened a season of comic opera, 1st June, with 
"Erminie." The principals were, the late Myra Morella, 
Mamie Taylor and Edgar Martin. The place was then called 
the Lyceum Opera House. The season was suddenly closed 
at the end of the same month. From this time on to 1893 the 
house was known as the Empire Theatre, and the class of at- 
tractions presented were third-rate variety shows. During 
the summer of 1893 a number of prominent French citizens 
formed a joint stock company, of which J. M. Fortier was the 
president. The interior of the house was entirely renovated, 
and a company of operatic artists were imported from France* 
The opening was on 2nd October, with "La Grande Duch- 
esse," the principals being Madame de Goyon as Stella; Mad. 
Loys as Claudine; and Mr. Girard as Monthabor. For three 
seasons of grand as well as comic opera the Theatre d'Opera 
Francais was patronized by the elite of Montreal's French citi- 
zens. The power which the church influenced against the 
performances, however, had not a little to do with the un- 
profitable results of the venture, the directorate dissolving in 
the early part of 1896, with the final disbandment of the ar- 
tists. The principals that time were: Adrien Barbe, Armand 
Mary, Mme. Bossy-Conti and Bennati. William E. Phillips 

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was the next lessee, opening the house as the Theatre Fran- 
cais, 2nd March, 1896, with "The Black Flag," inaugurating a 
series of standard dramatic and vaudeville representations in 
continuous performances at popular prices. The original 
stock company included John B. Knight, Wm. Stuart, Richard 
Baker, Hawley Francks, George Rose, Louise Arnott, Berryl 
Hope (Mrs. W. H. Wright), Camille D'Elmar and Virginia 
Ayer. Wm. S. Hartford, a capable young English actor, 
previously seen here at the head of Sparrow's "Jack Hark- 
away" Company, was engaged as leading man for the opening 
of the second week in "The Ticket-of-Leave Man." From 
season to season the attractions presented at this house were 
duly appreciated by Mr. Phillips' patrons, who recognized 
and rewarded his .up-to-date efforts by filling the auditorium 
to full capacity. A long series of choice dramas were pro- 
duced and interpreted by a generally capable company. In 
the mid-season of their activity the total destruction of the 
building by fire on the morning of 26th February, 1900, most 
rudely arrested their laudable efforts. The company played 
the same night at the Monument Nationale, but closed 28th 
February. Daniel Ford, owner of the property, and W. E. 
Phillips, sustained considerable personal loss. Coincident- 
ally, the greater Theatre Francais, the dramatic monument 
of France, was similarly destroyed within two weeks. 


situated on St. Lawrence street, opposite to the old market 
house, is the name of a building erected by the French Can- 
adian National Society, known as L* Association de St. Jean 
Baptiste, in 1890-91. Judge Loranger, F. L. Beique, Hon. 
Senator A. A. Thibaudeau and J. C. Beauchamp are members 
of the finance committee directing its affairs. The building, 
which is extensive and substantially constructed, contains a 
$econd floor theatre of large capacity, while the ground floor 
consists of several stores. Experts value the property at 
$300,000. During 1895-96 the Grand Opera Company from 
the Theatre Francais rendered several operas as well as con- 
certs. Mr. and Mrs. Frank Murphy, after retiring from the 
management of the Academy of Music, leased the hall and 
opened a short season, 16th March, 1896, with Palmer Cox's 
"Brownies/' for one week. Of the several attractions which 
followed, that of "Rob Roy" was the most successful. A sea- 
son of grand opera by a French Company, under other man- 

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agement, was inaugurated 6th October, 1899, the opening 
being in "La Juive." The artists inducted Miles. Talexis and 
Badilia, Mmes. Laffon and Bergs, Messrs. Anseldi, Grommen, 
Javia, Defly and Salvator. 

A number of amusement resorts have not been fully ncted 
in these pages, from the days of Guilbault's Gardens to 
those of Sohmer Park. The latter resort, established in 
1889 at Panet and Notre Dame streets, has been closely identi- 
fied with band concerts, vaudeville turns and some pretence at 
comic opera. The Bonaventure Hall flourished for a very 
short period twenty-five years ago under Mr. Vilbon's direc- 
tion, and during the ^o's and '8o's the Mechanics' and 
Nordheimer Halls occasionally catered to the public in 
minstrel and vaudeville performances. The principal min- 
strel features of the country appeared during that period at the 
Mechanics' Hjall, Christy's and Cool Burgess's being very pop- 
ular. There is also a record of the appearance of the famous 
but erratic tragic genius, Fechter, at this house in 1875, while 
George Vandenhoff rendered frequent readings. Neither can 
we give more than passing notice to the Bijou at Chaboillez 
square and St. Maurice streets, opened 27th February, 1899, 
with "The Parisian Belles," followed by other belles, for a 
season terminating the same spring. This house was under 
the management of Charles H. Laberge and Frederick 
Thomas, and was situated in the old St. Maurice Skating 
Rink. The Grand Central Theatre and Musee, corner 
St. Gabriel and Commissioners streets, has flourished since 
March, 1899, in a similarly modest manner, giving two variety 
performances daily. Thomas Burdette, proprietor; Louis 
Payette, manager. At the Arena Summer Garden (on the 
site of the old Shamrock Grounds), a season of comic opera 
was begun 24th July, 1899, in "Said Pasha," by the Robinson 
Opera Company, the principals being Lizzie Gonzalez, Ethel 
Vincent, Clayton Ferguson and Ben Lodge. A second sea- 
son of opera was inaugurated 18th June, 1900, Frank V. 
French being manager and lessee. 

her majesty's theatre. 

This beautiful temple of Thespis takes rank with the finest 
in America. It was built in 1898 by a chartered company, 
which included among others : Senator A. A. Thibaudeau, 
Mayor Prefontaine, K.C., M.P.; Mr. William Mann, the con- 
tractor; Messrs. William Barclay Stephens, William Strachan, 

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Beaumont Shepherd and David Russell, all of Montreal. The 
capital stock of the company is $100,000, divided into one 
thousand shares at a par value of one hundred dollars. The 
corporate style of the Company is, "The West End Theatre 
Co" (Limited). It is situated on Guy street, east side, above 
St. Catherine street. The ground dimensions of the building 
are 171 feet in depth by 170 in width. There is an 18-ft. lane 
on the south and a 10-ft. alley on the north. Both are pared 
in asphalt, There are in all twenty-one exits, and the house 
can be completely emptied in three minutes. The building is 
constructed in the style of architecture known as the Italian 
Renaissance, with a mixture of Rococo. The front is of 
pressed brick, relieved with Ohio buff, the walls possessing a 
solid limestone foundation. The main lobby is eighteen feet 
wide and thirty feet deep. Surrounding it are the manager's 
office, the box office, an apartment for advance agents, the 
ladies' toilet room and a smoking parlor for gentlemen. The 
lobby itself is floored in Mosaic tiling of very chaste design. 
On the second floor is located the cafe, which is accessible 
from all parts of the house. There are two galleries, the up- 
per one of which is divided, and contains the family circle 
and the "gods." There are ten boxes on each side of the 
stage, six of which are a part of the procenium arch. Pre- 
cautions have been taken against fire. A solid fire-wall of 
brick, three feet thick, separates the stage from the auditori- 
um; another of equal strength separates the auditorium from 
the lobby. The division walls between the lobbies in the front 
of the building and the dressing-rooms at the side of the stage 
are also of brick. The doors leading from the stage to the 
auditorium are of iron, and can be automically closed in half 
a minute. There is also an asbestos drop curtain, which 
would confine a fire, if such occurred, exclusively to the stage. 
The walls and ceilings of the auditorium, lobbies and toilet 
roims, are finished in asbestic plastering. Messrs. McElpat- 
rick, the architects of Her Majesty's, have built upwards of 
200 theatres, and in their large experience not an accident of 
any kind has happened in one of their buildings. The decora- 
tions are beautiful and in excellent taste. The lobby, with 
its warm tints of maroon and richly frescoed ceiling, prepares 
one for the brilliant scenic display within the auditorium. Mr. 
Toomey was the scenic artist. Mr. and Mrs. Frank Murphy 
secured the lease of the theatre, which opened Monday, 7th 
November, 1*98, with E. E. Rice's " The Ballet Girl : a pro- 

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duction of scenic splendour, introducing sixty artists, the 
principals being Gus Bruno, David Lythgoe, Edgar Halstead, 
James Lindsay, Jacques Kruger, Solomon Violette, Violet 
Deane and Christine Anderson. The performance was pre- 
ceded by a short address by Mayor Prefontaine. "We are 
proud of the theatre," said His Warship, "and we are proud of 
the name, for nowhere in those broad dominions, over which 
the sun never sets, is there a community more devoted to the 
person and the pure and noble throne of Queen Victoria than 
our good population of Her Majesty's devotedly loyal city of 
Montreal. I have great pleasure, therefore, to dedicate this 

theatre to the art which ' holds, as 'twere, the mirror up 

to nature,' that answers and educates, and that makes a really 
useful and valuable contribution to the material progress of 
the world by affording the relaxation that worn-out humanity 
justly requires/' As His Worship finished reading, the audi- 
ence applauded tumultuously, and, a minute or two later, Mr. 
Murphy again appeared before the curtain, this time introduc- 
ing Miss May Reynolds, who recited a prologue, which had 
been prepared for the occasion by Dr. George Murray. This 
was as follows : 

Ladies and Gentlemen, we hail to-night 

Your friendly presence with unfeigned delight, 

And let me say it as I have the floor, 

Your future patronage will charm us more. 

Lend me your ear three minutes for some verse ; 
It« might be Wetter, and it .might be worse! 

Here, months ago, a weed-encumbered spot 

Shrank from publicity — a vacant lot — 

Now, gaze around ; survey in every part 

This stately temple of dramatic art, 

Stage, drop-scene, orchestra, box, stall, parterre." 

And the twin galleries that bridge the air. 

No cheap gilt gingerbread offends the eye, 

No tawdry tinsel makes us almost cry ; 
Good taste, throughout, the victory has won, 

And all that money can do has been done. , 
Are you content ? If so, the fact confess, 

And answer with a sympathetic "Yes." 

Thanks ! and as crowds of bright-eyed French I see, 

"Je vous remercie bien, mes cheres amis !" 

You wish no doubt, to hear the bill of fare 

That for the public palate we prepare ; 

Well, since variety's the spice of life, 

We'll furnish that, for man and maid and wife. 

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You shall have dramas fit for youth or age, 

Played by the best performers on the stage, 

Plays of all kinds — farce, opera, burlesque, 

Plays, grave and gay, romantic and grotesque — 

And we are mindful that at Christmas time 

Those darling children cry for pantomime. 

One thing remember, you may rest secure 

That all we offer shall be clean and pure ; 

"immodest scenes admit of no defence, 

For want of decency is want of sense." 

Watch our career ; some venial faults forgive, 

And aid the "Servants of the Queen" to live. 

My time is up. So once again I say, 

Watch us impartially from day to day, 

If we play fairly, we bespeak fair play. 

All that we promise we will perform, 

And strive to take Society by storm ! 

A few last words. Attention ! One and all ! 

And bless the name selected for our hall ; 

It is the noblest that on earth is known; 

It is "Her Majesty's," we proudly own. 

Yes! There is one whose venerated name 

We dare to borrow, and we dread to shame, 

Who needs no Crown — no Sceptre in her hand — 

The world's spontaneous homage to command, 

Who, from sheer goodness plays a gracious part,. 

And when she speaks is prompted by her heart; 

Long may she linger, loved upon the scene, 

Long may we listen to "God Save the Queen !" 
Then the audience arose, and the orchestra, under Professor 
Zimmerman, rendered "God Save tine Queen." 

It may be interesting to future generations to note a few 
of those in attendance : 

In Box A w*ere Mr. and Mrs. Hector Mackenzie, Mr. and 
Miss Mackenzie. 

In Box B — Mayor Prefontaine and Mrs. Prefontaine, Dr. 
and Mrs. Foucher and Mr. P. D. Roland. 

In Box C — Mr. and Mrs. H. Vincent Meredith, Mr. and 
Mrs. Wanklyn, Mr. Justice Hall and Mr. H. Allan. 

In Box D — Mr. and Mrs. E. S. Clouston, Mr. and Mrs. 
Charles Meredith and Miss Margaret Angus. 

In Box E — Comtesse des Etange, Miss Thibaudeau and 
Miss Rodier. 

In Box F — Mr. and Mrs. Yere Goold, Miss Skinner, Mr. 
Douglass Plye and Miss Ondron. 

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In Box G — Mr. and Mrs. William Mann, Mr. and Mrs. J. 
A. Mann, Miss McLean and Mr. S. McLean. 

In Box H — Mrs. Donald Macmaster, Mrs. Peterson, Miss 
Roddick and Miss Redpath. 

In Box I — Mr. and Mrs. John Russell, jun., Miss Russell, 
Mr. David Russell, of St. John, N.B.; Dr. and Mrs. Allisjn, 
New York ; Mr. D. Pottinger and Mr. T. B. Blair. 

It was a representative audience of Montreal's best society, 
and, although a more appropriate choice in the class of attrac- 
tion should have been made, there was not standing room left 
for late comers. The view from the galleries was pictur- 
esque in the extreme. Nearly all the ladies wore evening 
dresses of exquisite design and shade, contrasting vividly with 
the prescribed black and white of the men, who, in their turn, 
did what was possible to add to the poetry of colour — if it may 
be permissible to ascribe poetry to colour as well as to motion. 

How different the scene ninety-four years before ! when, 
during the same month, our forefathers gathered in humble 
array at the corner of St. Sulpice and St. Paul streets to be 
entertained by Ormsby and his troupe of poor, half-fed, half- 
clothed itinerants, whose social standing was considered 
scarcely better than wandering gypsies or vagabonds, with- 
out accoustic effects or adequate stage wardrobe, interpreting 
Centlivre's "Busybody," an obsolete comedy by a forgotten 
playwright, and directed by an actor-manager whose name 
has no place in the list of biographia dramatica. And still 
this primitive effort was the event of the day in dear, staid, 
old Montreal, the performance being followed with unflag- 
ging interest by those whose memory and deeds we hold in 
such sacred esteem — from whose being the everv-day events 
of a century have gathered together the legacy of splendour 
and comfort we now enjoy. 

Geographically unfortunate is Montreal in its pretensions to 
recognition from managers of the more important attractions 
in comparison to the advantages of American cities of even 
lesser population. The close grouping of cities on the well- 
beaten tracks of commercial highways in the United States 
afford facilities and inducements that Montreal cannot hope 
to enjoy for many years in its isolation and annoying customs' 
formalities. Nevertheless, Montreal is occasionally favored 
by modern attention, sometimes accidentally, oftentimes as a 
last resource. It is only fair to say, however, that results 
from a financial point of view have been reasonably felicitous 

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in the aggregate. At the present writing, the subject of the 
drama in Alontreal, with its paucity of supporters and over- 
plus of theatres, presents a question worthy of parliamentary 
debate and force of ordinance. Thousands of dollars will be 
expended in futile experiments until the public decides what 
it will have. In the meantime, the leaven of experience will 
extend towards that attainment, when, within a decade, 
Montreal will permanently support an English and French 
stock company on a paying basis, also a first-class combina- 
tion house of untramelled and free jurisdiction. 

Those of you who are familiar with the methods and scope 
of the theatrical trust or "syndicate" will readily realize what 
obstacles were to be surmounted by the experienced but 
handicapped Murphys over such a combination, the Aca- 
demy of Music being the "syndicate" house in Montreal. 
What good attractions were to be had outside of the "trust" 
were secured, but only on conditions entirely inadequate for 
the maintenance of such a house. After two seasons of un- 
crowned effort in the administration of this theatre, "Her 
Majesty's servants*' surrendered their trust to the patentees, 
this being in turn handed over, 28th April, 1900, to John A. 
Grose, a man of keen perception and varied business experi- 
ence, of whom much was expected in handling the managerial 
reins. His initial offering was Frank Daniels in the comic 
opera, " The Ameer," week of 30th April. 

Mr. Grose subsequently went to England for the purpose 
of recruiting a special company of players for "stock work, 
but after a short and unprofitable season, he in turn withdrew 
from theatrical management. The lease of the house was then 
assumed by the enterprising New York manager, F. F. Proc- 
tor, who inaugurated a season of continuous vaudeville, from 
4th March, 1901, which gave way in the following June to 
the presentation of dramas by a stock company. To date, Mr. 
Proctor holds a fair clientele through the excellent work of 
his company. The Proctor Stock Company is a big organiza- 
tion, divided into six sections, one appearing at each of the 
half dozen Proctor theatres each week. The companies are 
transferred from one theatre to another, so that all the the- 
atre are equally well supplied. There are 150 people employed 
the six sections of the company, and the supervision of the 
entire scheme is in the hands of Frederic Bond- 

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"Thus far with rough and all unable pen, 

Our bending author hath pursued the slory, 
In little room confining mighty men, 

Mangling by starts the full course of their glory." 

In glancing over the careers of the many men and women 
preceding these lines, how startling is the thought of the 
strange mutations which attend our fleeting lives — the errors 
of which afflict us here, and in the memory of our acquaint- 
ances live after us. Our good apportionment of humanity, 
and all have some, is often forgotten and interred with our 

"We are such stuff 

As dreams are ma<Je of, and our little life 

Is rounded with a sleep." 

How often in the silence of our meditations are we carried 
back to incidents witnessed behind the glare of the footlights, 
often so impressively parallel to our own personal experi- 
ences of joys and sorrows. Then must we realize the reflec- 
tive force of that great mirror of humanity, and, like the re- 
membrance of an intensely human sermon, regret the often 
unheeded passing of its vivid and prophetic appeal, but 
ephemerally felt on the emotional cords of our sympathetic 

I discovered, a good many years ago, when the skies 
seemed to be a brighter blue, and the fields a lovelier green 
than they are now, and when the birds sang twice as well, 
that fun was the most cheerful thing on earth, and that people 
preferred laughing to crying. Some of our happiest hours 
have been passed in following the frolicsome and eccentric 
methods of a favorite comedian, for variety is the spice of 
life, and no person can afford to confine his taste in one nar- 
row groove, either as a student of the drama, or in the regular 
walks of life, after allowing for some little intelligent discrim- 
ination in choosing the plays to be patronized, for no reason- 
able authority can exist to gauge the standard of what a few 
may have pronounced ideas upon. If a man prefers seeing 
"Harris from Paris" to "Hamlet/' he certainly has a right to 
follow his inclination as much as his neighbour, who, prob- 
ably having to fight less hard for the daily necessities of life, 
has more time to reflect on the divinity of art. So it is with 

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the lover of harmony in music when he steals off to listen to 
Sousa's marches in preference to what he considers the 
**boiler shop' symphonies of the late lamented Wagner. Our 
preference and ambition should, of course, incline to the cul- 
tured in the drama as in music, but the individual who goes to 
the theatre to be entertained has a right to indignation if 
snarled at by a set of classical dudes who whine over the de- 
generacy of tire drama. 

William Winter says that " the stage of the present is always 
"degenerate.' Persons zcho seek the golden age invariably find 
tliat it retires as they advance." Notwithstanding the fact that 
in our day the stage is being adorned and beautified by such 
artists as Henry Irving, T. W. Keene, Haworth, Miller, Crane, 
Mansfield, JJeerbohm Tree, Joseph Jefferson, Ada Rehan, 
Olga Nethersole, Ellen Terry, Duse, Mrs. Fiske and Bern- 
hardt, the cry is heard bewailing the loss of the lights of two 
decades ago, when shone Edwin Booth, Lawrence Barrett, 
Wm. Warren, John Gilbert, Charlotte Cushman, Clara Morris, 
John McCullough and Adelaide Neilson. 

Richard Mansfield, who most fortunately is seldom taken 
seriously off the stage, has recently asserted to the press that 
the stage of to-day is degenerate. His opinion has not been 
endorsed by other players of equal experience and ability. 

In 1845 James Rees described the genius of the drama as 
an " owl sitting in gloom and eternal night upon the wreck of 
the stage' 1 — yet that was the time of Junius Brutus Booth, 
Edwin Forrest, Thomas Hamblin, Charles Kean, Macready, 
Helen Faucit and G. V. Brooke. In 181 1, Mary Godfray, 
one of the intimate friends of the poet Moore, writing to him 
about the theatre in London, said that " an author who hopes 
for success on the stage must fall in with popular taste, which is 
now at the last gasp and past all cure.'* Yet at that moment 
Kean, Young, Cooke, the Kembfces, Fawcett, Munden and 
Eliza O'Neil were in full career. Macklin, when an old man, 
used to ask disdainfully, " Wlvcre are your actors P Yet 
Macklin, who lived in the period of Doggett, Mrs. Barry, 
Barton Booth, Thos. Elrington, Mrs. Oldfield and Mrs. Frit- 
chard, might, even as he spoke, have seen Kemble, Shuter, 
King and Mrs. Siddons. 

Cibber, in his last years, could see little or no merit in con- 
temporary players. Yet that was the time of Garrick, Mrs. 
Cibber, Mrs. Bellamy, Mossop, Henderson and Barry. Meres, 
in "Wit's Treasury " (159S), complimenting the poet Drayton, 

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speaks of " these declining and corrupt times when there is no- 
thing but roguery in z'illainous man." The stage was compre- 
hended in that censure, yet that was the time of Shakespeare, 
Ben Jonson and Burbage, and so it goes back perpetually to 
the earliest origin of ihe drama. 

It has been estimated that our theatre-going public pays 
$70,000,000 a year for its entertainment. The calculated at- 
tendance is 1,500,000 persons a week in the various play- 
houses of the country. On January ist, 1900, there were 574 
amusement enterprises before the public, of which 427 were 
dramatic companies. 

We are not degenerating. We have more theatres than 
were in existence in previous times. We have more good 
plays than our ancestors were blessed with, and we have more 
bad ones than they were ever afflicted with. We have more 
good actors than they ever admired in any past period of time, 
and we have more bad ones than any past period of time was 
ever burdened with. There must be an abundance of both 
in order to balance the scales of existence, for just as science 
teaches us that there must be death in order that there shall 
be life, so does the light of dramatic experience teach us that 
there must be bad plays in order that there shall be good 
ones; that there must be bad actors in order that we may more 
fully appreciate the good ones. 

"Use every man after his own honor and dignity ; 

The less they deserve, the more merit is in your bounty." 

And now, patient reader, the chronicle for the present has 
ended. If the compiler has succeeded, in his humble way, of 
awakening pleasant -recollections in the minds of his senior 
readers, or to have excited the envy of juniors in wishing 
they had lived earlier in order to have seen the celebrities of 
past decades, his task has not been altogether without 

You remember what old Omar says : 
Ton rising moon that looks for us again — 

How oft hereafter will she wax and wane ; 
How oft hereafter rising look for us 

Through this same Garden — and in vain ! 
And when like her, oh Saki, you shall pass 

Among the Guests-scatter'd on the Grass. 
And in vour joyous errand reach the spot 

Where I made One — turn down an empty glass ! 


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j* j* j* 

Academy of Music. 

Academy of Music (interior.) 

Anderson-Navarro Mary. 

Bandmann Daniel E. 

Bernard John. 

Bernhardt* Sarah 

Boucicault Dion. 

Brown Frederick. 

Buckland Mrs. J. B. 

England's Greatest Actors. 

Fechter Charles Albert. 

Fisher Clara. 

Forrest Edwin. 

Hamblin Thomas S. 

Haworth Joseph- 

Hill Barton. 

Horn Kate. 

Irving Sir Henry. 

Jefferson Joseph. 

Kean E. 

Keen Edmund. 

Keene Thomas W. 

Kemble Charles. 

Kemble Fanny. 

Macready William Charles. 

Mansfield Richard. 

Mathews Charles James. 

McCulloch John. 

Neilson Lilian Adelaide. 

Proctor's Theatre. 

Proctor's Theatre (interior.) 

Raymond John D. 

Ristori Adelaide. 

Rossi Ernesto. 

Russell Lillian. 

Salvini Tomasso. 

Terry Ellen. 

Theatre Francais. 

Theatre Francais (interior.) 

Theatre Royal. 

Theatre Royal (interior.) 

Theatre Royal (interior of, 1825.) 

Theatre Royal Favorites. 

Warner Neil. 

For Biographical Sketches, see Index. 

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Abbot Wm 73 

Abbott Emma 239 

A'Becket Thos 91 

Achilles The 66 

Adams Edwin 160 

Aimee Marie 177 

Albanl Oye Emma (Lajeunesse) 286 

Albaugh John W 167 

Albaugh Mary Mitchell 168 

Albertlne Mile 116 

Aldrlch Louis 261 

Anderson James Robertson 9b 

Anderson-Navarro Mary 238 

Anderson Mr 32 

Andrews Geo. H 89 

Arden Edwin 212 

Armstrong Sydney 284 

Arnold Charles 228 

Baker Mrs. Sarah A 260 

Balls J. S 74 

Bandmann Daniel Edward 240 

Bangs Frank C .. 186 

Barbe-Loret Hortense 269 

Barnett Morris 117 

Barrett Joseph Louis 119 

Barrett Lawrence Patrick 166 

Barron Charles 270 

Barrow Julia Bennett 136 

Barry Wm 203 

Barrymore Maurice 236 

Bartley Mr. and Mrs 37 

Barton Mr 66 

Beaudet Louise 206 

Belgarde Adele 268 

Belton P. E U8 

Bennett Jas U? 

Bernard John.. .. , a 26 

Bernard Mrs. Charles 61 

Bernhardt Sara 245 

Blake Mr. and Mrs 61 

Bland Humphrey 107 

Blythe Helen 202 

Boniface Geo. C 211 


Booth John Wilkes 145 

Booth Mrs. Agnes 262 

Boucicault Dlonyslus Lardner 110 

Bowers Mrs. D. P kb 

Bowers Vining 142 

Braham John [. gj 

Brignoli Signor Llusi .. ". ][ ieo 

Brougham John ug 

Brown Frederick and Sophia 41 

Brundage Mary Anne 44 

Buckingham Fanny Louise 201 

Buckland John Wellington 106 

Buckland Mrs iog 

Buckley Edward J ." .." 277 

Buckstone John Baldwin 82 

Bull Ole Bornemann .. 107 

Burton Wm. Evans 125 

Byron Olivier Doud.. ... 170 

Carden Jas 152 

Carr Benjamin 26 

Celeste Marie ]] 49 

Ceyatano & Co 83 

Chanfrau Francis S '*. U4 

Chippendale Frederick U0 

Ciprico Geo. M ua 

Clazton Kate 230 

Cline Herr John 73 

Coghlan Rose 277 

Collier Edmund Kean 198 

Compton Edward H 246 

Conway Frederick Bartlett Ill 

Conway Mrs. F. B 112 

Coombs Jane 121 

Corlnne 246 

Couldock Charles Walter 119 

Cowell Sydney 260 

Crane Wm. H ,. .. 163 

Creswlck Wm 80 

Curtis M. B 166 

Dampier Alfred 237 

Dargon Augusta L 216 

Davenport Edward Loomls 136 

Davenport Fanny 237 

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Davldge Wm. Pleator 107 

Davis Chas. S 193 

DeBar benedict 159 

DeBelleville Frederick - .. .. 286 

De Camp Vincent 53 

Denln Sisters. The 123 

Denny-Drake Frances Anne 36 

De Walden T. B 97 

Dillon Chas 131 

Dillon John 217 

Don Sir Wm 101 

Douglass David 28 

Downing Robert L 258 

Dowton Wm 74 

Drama in America 9 

Drama in England 6 

Drama In France 4 

Drama in Montreal 14 

Drew Mrs. John 79 

Drew Frank 148 

Drummond W. C 81 

DuBols Samuel Conier 132 

Duffy Wm 61 

Durang Chas 33 

Durang John 17 

Dykes W. H 38 

Dyott John 97 

Eberle Charles 74 

Edwards Harry 263 

Edwards James L 213 

Elmore Marcus 120 

Emery Miss 56 

Emmett Jos. K 166 

Epilogue 301 

Ey tinge Rose 299 

Faucett Owen 155 

Fay Hugh 203 

Fechter Chas. Albert 186 

Feron Mrs 57 

Fisher Chas 112 

Fisher Kate 189 

Florence Mr. and Mrs. W. J 243 

Forrest Edwin 59 

Fortescue May 284 

Fox George L 217 

Frayne Frank 1 213 

Fuller Thos *> 

Fyffe Charles J 151 

Gannon Mary 114 

Gayton Zoe I 77 

Germon Euphemla (Effle) 126 

Gerster Etelka 263 

Gilbert John Gibbs 252 

Gilmour John H 282 

Goodwin Nathaniel C., Jun 232 

Gotthold J. Newton 2€3 


Gould Julia 100 

Graham Anna 267 

Graham Geo 88 

Granger Maud 257 

Gray Ada 174 

Gray Alice 123 

Gray Minnie Oscar 210 

Greene John 75 

Grlerson Thos 57 

Hackett Jas. Henry 61 

Hale Chas B 114 

Hamblin Thos. Sowerbey 45 

Harklns Daniel H 163 

Harland Ada 157 

Harper Joseph 29 

Harris William 260 

Hauk Minnie 202 

Hautonvllle Mrs 82 

Haworth Joseph S 283 

Hayes Catherine 107 

Heniiques Madeline 143 

Henry- Drummond- Barrett Anne J.. .. 86 

Hermann Alexander 257 

Heme Jas. A 148 

Herring Fanny 156 

Heyl Lewis 43 

Hill Barton 137 

Hindle Annie 214 

Holland Geo 66 

Holman Mr. and Mrs. George 169 

Holman Sallle 170 

Holmes E. B 133 

Honey Laura 132 

Hows John W. S 69 

Hughes Mr 63 

Hughes Mrs 63 

Hunt Harry B 79 

Irving Sir Henry 270 

Isherwood Mrs. Wm 91 

Jack John Henry 126 

Jam 08 Louis 183 

Janauschek Francesca Romana Mag- 

dalena 200 

Jefferson Joseph 244 

Jchin-Prume Frantx Henry 227 

Jewett Sara 184 

Johnson John 32 

Jones Mrs. Geo 92 

Jordan Geo 107 

Judah Emanuel 40 

Judic Mme 283 

Kean Charles John 62 

Kean Edmund.. .- 49 

Keane James K 186 

Keene Thomas Wallace 261 

Kelly Lydia 62 

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Kemble Chas 65 

Kemble Frances Anne 66 

Kimball Mrs. Jennie 214 

King Thomas C - 175 

Knight George S 257 

Knight Mrs. Edward 52 

Knight Mr. and Mrs. Henry 74 

Lacy Harry 257 

Lander Mrs 77 

Langdon Henry A 156 

Langtry-de Bathe Emily Charlotte Le- 

Breton 265 

Laurent Ada 135 

Lavallee Callxa 227 

Lefflngwell Mlron Winslow 172 

Leman Walter M 87 

Le Moyne Wm. J 123 

Lennox Thos. F 92 

Leslie Ida 160 

Levlck Milnes 193 

Lewis George W 108 

Lewis Lillian 270 

Lewis Mary Jeffreys 2 

Lindley Harry 170 

Llngard Mr. and Mrs 235 

Little John Z 211 

Logan Cornelius A 70 

Lotta Strawberry Blonde 149 

Lyne Thomas A 101 

Macallister 116 

Macdonough Thomas B 129 

Mack ay F. F 154 

Mack ay Steele 197 

Macready Wm. Chas * 92 

Maddern Sisters, The 152 

Maeder Clara Fisher 54 

Maffltt James S 155 

Magi n ley Benjamin 197 

Magri Count Primo 205 

Mansfield Richard 264 

Markham Pauline . . . . . . . 207 

Marriott Alice 158 

Mason Chas. Kemble 66 

Mather Margaret 278 

Mathews Charles James 119 

Matlack Bennett 209 

Mayo Edwin F 190 

Mayo (Magulre) Frank 190 

McAuley Bernard 202 

McCarthy Dan 218 

McCollom James C 166 

McCullough John Edward 143 

McDowell Eugene A 220 

McLeay Franklin 291 

Meade James H 124 

Meader Fred. G 128 


Melton Miss 87 

M'Henry Nellie 239 

Miaco Thomas Alfred 203 

Mills John 30 

Mitchell Margaret Julia 239 

Montague Henry J 227 

Montague Winnette 173 

Mordaunt Frank 182 

Morris Felix James 222 

Morris William 288 

Morrison Lewis 216 

Mortimer- Lytell Blanche 289 

Munroe George W 282 

Murphy Jos 174 

Murray Dominlck 164 

Neilson Lilian Adelaide 232 

Nelson Sisters, The 132 

NickinBon John 83 

Nobles Mr. and Mrs 209 

Norton John W 163 

Oates Alice 162 

Olcott Ida Lilian 282 

O'Neill James 194 

Origin and Progress of Dramatic Art. 3 

Ormsby Mr 18 

Otis Wm. H 177 

Owens John Edmond 166 

Palmer Minnie 198 

Pardey H. 97 

Parsloe Chas. Thomas 253 

Patti Adellna Maria Clorlnda 129 

Paul Howard 160 

Pauncefort George 135 

Peters Chas Ill 

Phelps A. R 162 

Phillips H. B 108 

Phillips John B 91 

Pitt Charles Dibdin 101 

Placide Thos 52 

Plympton Eben 229 

Pomeroy-EUiott Louise 211 

Ponisl Madame 108 

Powell "Old" 75 

Power Tyrone 69 

Prescott Marie Victor 277 

Preston Henry W 100 

Prigmore Seth 22 

Proctor Joseph 75 

Rankin Arthur M'Kee 250 

Rankin Kitty Blanchard 251 

Ravel Miss Marietta 159 

Raymond John T 229 

Reed Roland 271 

Reeve John 78 

Reeves Fanny 221 

Reignolds Kate 116 

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Rhea 269 

Rice Thos. D 87 

Riddle Miss Eliza L 43 

Kiggs Thomas Grattan 21) 

Rignold George 230 

Kistori Adelaide 271 

Robert Sir Randall H 223 

Robertson Agnes 109 

Robertson Hopkins 24 

Rock Mary 89 

Rooney Pat 206 

Roper Mr. and Mrs. James 44 

Rosa Parepa 153 

Rossi Ernesto 254 

Rowbotham H. H 69 

Rowbotham Mrs 69 

Runnells Bonnie 207 

Rush Cecile 151 

Russell Sol Smith 250 

Ryder Thos 92 

Salvinl Tomasso 24ft 

Scanlan Wm. J 141 

Schinotti Mr 57 

Scott Siddons Mary Frances 195 

Sefton John 74 

Seguin Mr. and Mrs. Edward ;.. 80 

Selwyn John H 119 

Siamese Twins, The 68 

Silsbee Joshua S 92 

Sinclair John 66 

Skerrett George and Emma. . . . , 94 

Sloan John Thomas Kent 117 

Sloman Mr. and Mrs. John 87 

Smith George Frederick.. .. t 39 

Smith Joseph Alfred.. 82 

Sothern Edward Askew 186 

Sothern Lytton Edward 271 

Sparrow John B 191 

St. .Clair Sallie 124 

Stetson E. T 173 

Stoddart Geo. Wm ; .. 203 

Stoddart James Henry 114 

Strakosch Clara Louise Kellogg.. .. 182 

Studley John B '.. .. 228 

Sullivan Thos. Barry. 126 

Talbot Mrs '. 44 

Taylor Mr. 25 

Tearle George Osmond 252 

Ternan Frances Eleanor ;.. 73 

Ternan Thomas Luke 74 

Terry Ellen Alice..: 173 

Thomas Henry 244 

Thompson Charlotte 170 

Thompson Denman 110 

Thome Edwin Forrest.. 182 


Thome Emily 141 

Thumb Mrs. General, Tom 205 

Thumb Tom 204 

Tiffany Annie Ward 283 

Tllton Edward Lafayette 198 

Tom Blind 171 

Toole John Lawrence 183 

Tree. Ellen 76 

Turnbull John D 36 

Turner Mr. and Mrs. Wm. S 27 

Tuthill Henry 87 

Ulmer Geo. T ; 213 

Usher Mrs. Luke 24 

Usher. "Noble" Luke 24 

Vandenhoff Charles F 154 

Vandeuhoff George 120 

Vanstavoren Jos. B 91 

Vaughan Miss 272 

Venn Topsy 202 

Vernon Ida Fisher 113 

Vestris Madame 55 

Vincent Felix A Ill 

Vincent Mrs. Mary Ann 270 

Vokes Family. The 222 

Walnwright Marie 231 

Walcot Mr. and Mrs.. 112 

Wallack Fanny 4 101 

Wallack Jas. W., Jun 88 

\Wallack Mrs 88 

Waller Emma 121 

Walters Annie 107 

Ward Genevieve 191 

Ward James M 173 

Ward Thos 73 

Warde Frederick Barham 236 

Warner Henry Neil 178 

Watkins Harry 158 

Webb Charles 40 

Webb Sisters, The 142 

Wells Wm. G 57 

Western Sisters, The 124 

Weston J. M 82 

Wethersby Eliza 231 

Wheatcroft Nelson 283 

Wheatleigh Chas 113 

Wheatley Wm 87 

Wheelock Joseph F 200 

Whiting Joseph F ( 258 

Williams Gus ... 260 

Williams Mr. and Mrs. H. A 36 

Wilmarth (Waller) Daniel .. 121 

Wood Mr. and Mrs. John 116 

Wood Nicholas S 212 

Worrell Sisters, The 185 

Wyndham Charles 2*4 

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> j* j* 

"Shall this speech be spoke for our excuse; or shall we on with- 
out apology ? 

Romeo and Juliet, Act I, Sc. 4. 

The study of Shakespeare is the study of life, and without the 
aid of the actor there are thousands who never would have dipped 
into that intellectual ocean, whose waves touch all the shores of 
thought" remaining unfamiliar with the most sublime and moral 
sentiments that ever adorned a. language. 

Through the factor-ship of the theatre, thousands have also be- 
come better acquainted with the more imposing drama, so skillful 
and multifarious in plot, as time has wrought. The humblest auditor, 
from the seats of the mighty exalted among the gods, or from his 
almost royal divan in the lower arena, may summon before him the 
glittering pageant of monarchs, statesmen, conquerors or philoso- 
phers — no poet, however godlike his imagination, but all will play 
their parts. 

Realizing that the annals of a temple, wherein is enacted the muse 
of genius in portraying the achievements of nations in war, politics, 
and literature, as well as the grand aim of mankind in social ethics, 
should be a record of much interest, the compiler has been induced 
to rescue from oblivion such facts relative to the drama of Montreal 
as can now be collected, and herewith presents this volume to the 

The idea of compiling this work was conceived in 1896 (just after 
the writer had disposed of his entire dramatic and general library), 
being first undertaken in a very humble way, and merely for distrac- 

Inasmuch as records and newspaper files in Montreal are deplor- 
ably incomplete, opportunity was afforded the writer of obtaining 
data from sources somewhat removed from the general reader, on 
tours, which have extended through nineteen or more countries, 
including over one hundred and fifty cities, the most valuable notes 
being found in Ottawa, Quebec, Chicago, Washington, New York, 
Boston and Philadelphia, while much important biographical matter 
was gleaned in the libraries of the British Museum, Trinity College. 
Dublin, the Memorial Theatre of Stratford-on-Avon, at Birmingham, 
and at Edinburgh. A certain portion of the work was also facilitated 
by condensing matter from the writer's initial effort, "Kings of 
Tragedy," published in 1888. The history has, therefore, the unique 
distinction of being decidedly international in its contribution matter. 

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The first edition was published in serial by the "Metropolitan," of 
Montreal, from May, 1807, to March, 1898. Gross, although unavoid- 
able, typographical errors in the first, have been rectified in this edi- 
tion, while a careful revision of the text has, in a large measure, re- 
modelled the original draft. 

A paragraph of thanks is due to the following friends, who have 
given me much assistance : 

Edwin Mason, Henry Mott and David Waters, of Montreal; J. F. 
Ash, Philadelphia; Walter Thorpe, Wm. F. Hartley, Wm. Winter and 
Col. T. Allston Brown, of New York. To the last mentioned, I am 
specially indebted. Col. Brown's interest in this edition has extend- 
ed so far as to read the proofs, and scrutinize the data. When it is 
recalled that he has for over forty years had a personal acquaintance 
with nine-tenths of the members of the dramatic profession, the 
reader will share all due appreciation of his courtesy to us. 

My regards are also tendered to the reverend librarians of Laval 
University, Quebec, and Richard Savage, antiquary of Stratford-on- 
Avon, that hallowed ground where began and ended the life that knew, 
and felt, and uttered all. 

"So on your patience ever more attending." 


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In order to complete our record to date, mention may be made or 
the passing away of several familiar names since our forms were 

Rose Osborn, once noted through the country as an emotional ac- 
tress, died 23rd April, 1902, aged forty years. She was in her youth 
a woman of great beauty arid exceptional accomplishments. 

David Hanchett, one of the oldest of American actors, died 20th; 
April, 1902. In the height of his career he played with Edwin Forrest, 
Charlotte Cushman, and other distinguished stars. In recent years 
he taught the dramatic art in various cities. His last public appear- 
ance was in "The Penitent." 

Mrs- George Holland v Catherine de Luce), widow of the elder 
George Holland and mother of E- M. Joseph and George Holland, 
died 25th April, 1902, aged sixty-nine years. 

Miss Annie Clarke, formerly a well-known member of the Bos- 
ton Museum Stock Company, died 22nd May, 1902. 

Daniel H. Hark ins. after a stage career of forty-nine years, 
died 7th Dec, 1902. His last appearance was on the 14th April, 1902, 
in ''The Last Appeal." at Wallack's, when he broke down. His train- 
ing in his profession was thorough, and whatever he undertook to do 
was thoroughly well done. In character, he was notable for sturdy 
manliness, integrity, simplicity, and truth. He had a laborious life 
without much reward for all his toil, but he never lost his faith in the 
nobility of his calling or the fidelity of his friends. 

James F. Cathcart. seen here in support of Charles Kean, 
died in December, 1902. He was a prominent actor of the old 
school, and for many years had made his home in Australasia. 
He died in Sydney, N-S.W., in December. 1902, in his seventys 
fourth year. Apart from his sterling worth as an actor, he was 
greatly esteemed for his genial and earnest personality. His 
hrst engagement was with Charles Kean, with whom he first visit*d 
the Antipodes, afterward making with him a trip to San Francisco- On 
the death of Mr. Kean, Mr. Cathcart joined Barry Sullivan, appearing 
in England and America- After his return to Australasia in 1879, he 
appeared with George Rignold, Williams and Musgrove, Brough, 
Boucicault, and Charles Holloway, Mr- Cathcart's favorite roles were 
Sir Peter Teazle and Brutus in ''Julius Caesar." He is survived 
by one sister, Fanny Cathcart,. who went to Australasia with G. V- 
Brooke, and later married George Darrell. 

Augusta Dargon, who retired from the stage after her marriage 
with Dr. Percy, died at her country home near Sydney, N. S. W», in 
December, 1902. 

Frederick Chippendale, the father of Mrs. Neil Warner, died 
23rd January, 1903, aged 82 years. 

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Frank Drew, brother of. the cider John Drew, died 1st Feb, 1903. 
aged 73 years. 

Henry A- Weaver, senior, died 26th February, 1903. He was 
seventy years oFd and would have celebrated the fiftieth anniversary of 
his stage career the next week. 

Joseph Haworth, in the full glory of a most brilliant career, 
was suddenly called apart at a time we had hoped to enjoy the matur- 
ity of his finest talents- The end came at Willoughby, Ohio, 28th Au- 
gust, 1003. The date of his birth has been written "1855 " by most ot 
his biographers, but the date given in my preceding sketch as 1858 is 
confirmed by a letter from Mr- Haworth to the writer some years ago 
Mr- Haworth was inspired, in the early years of his public life, by- th*? 
best actors of the period, and his ambition drove him to great exer 
tion in the hope that he might some day be -numbered among the great- 
est of American tragedians. That he did not quite reach the goal of his 
dream* was due. perhaps, more to the lack of public interest in the 
Shakespearean drama during t(ie years of his best endeavours than to 
any shortcomings of his own. As it was. he grasped every opportunity 
to appear in the classic drama, and it is not too much to say that he 
was successful in everv classic role that he undertook. 

Km ma Maddern Stevens, for many years a prominent and much 
admired actress, died 16th Jan-, 1903. Mrs. Stevens was one of the noted 
Maddern family of concert singers, that included also Mary, ElizabetJi, 
mother of Mrs. Fiske. Richard, and Henry Maddern. Emma Maddern 
was the youngest of the family and the only one born in this country. 
Her birth occurred in Buffalo about fifty-seven years ago- About 
twenty years ago she married Robert E- Stevens, the well-known mana- 
ger, then associated with Lawrence Barrett. Mrs. Stevens left three 
children— Emily, who is a member of Mrs. Fiske's company; James, 
a lawyer, and Robert who is engaged in mercantile business- Her sis- 
ter Mary is also in Mrs- Fiske's support. Her life was ordered by a 
high sense of duty, and her gcx,d deeds and amiability were almost 

Mrs. Jean Margaret Davenport Lander, known as an eminent 
actress for two score years in this country antf in Europe, died 3rd 
July, 1003. aged seventy-four years. 


The plates in this book, some of which have been executed from 
difficult originals, have international interest, inasmuch as not only the 
best half-tone engravers of Montreal have contributed, but also the 
leading firms of Philadelphia, the latter including Beck Engraving 
Co-, Gatchcll & Manning. Phila. Engraving Co.. Standard Engraving 
Co., Universal Engraving Co., Commercial Engraving Co., Photon- 
Chromotype Co., Quirk Engraving Co- and the Week's Engraving Co. 

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